From chris.lott at gmail.com  Fri Feb  1 00:13:18 2008
From: chris.lott at gmail.com (Chris Lott)
Date: Thu, 31 Jan 2008 20:13:18 -0900
Subject: [New-Poetry] Poetry Foundation Letter
In-Reply-To: <7CDF289D-7314-4B24-80C3-C3F98D700A0C@myuw.net>
References: <47A115A0.8010503@opus40.org>
	<Pine.LNX.4.43.0801301641190.6415@hymn14.u.washington.edu>
	<20080131155810.GA2971@sparky.launchmodem.com>
	<7CDF289D-7314-4B24-80C3-C3F98D700A0C@myuw.net>
Message-ID: <9b1b9dab0801312113q5cce297bkabf04d4a69e5d260@mail.gmail.com>

On Jan 31, 2008 6:44 PM, Jason Quackenbush <jfq at myuw.net> wrote:
> this is where I think ron silliman has been very
> insightful in his critiques of the "school of quietude." it's not so
> much an aesthetic as it is an unwillingness to see the existence of
> other aesthetics. What's at issue here isn't equal representation,
> but the acknowledgment of diversity and of the validity of the
> fringes.

Ron Silliman's insight would be more productive if he didn't lump
everyone who doesn't agree with him on which of those diverse groups
are personally interesting and compelling into one big group. Most of
the time, Silliman's arguing against a very convenient strawman... by
the very virtue of the places that Silliman finds the people he wasts
to engage it is obvious that they shouldn't be hist target.

I'm quite well aware of the diversity, and I appreciate Ron and Bob
and others who have helped me find my way there. I recognize the
validity of these forms even if most of them are not compelling to me.
But I'm not some outlier amongst those who happen to still find life
in the more mainstream and traditional kind of writing and I doubt
Collins, Hall, Levine, etc are either.

What bugs me about some of the commentators that adopt the relatively
useless SOQ categories is that what underlies their argument seems to
be an inability to believe that anyone could really *see* the art they
prefer and just not *like* it. It has to be that those people are
intellectually deficient, unable to appreciate innovation, not reading
hard enough, not willing to be up to a challenge, etc... there's no
room for *aesthetic* diversity in that space... all the air has been
sucked out of the room in favor of a *political* hegemony that's
ultimately no better than the 80s style academic mainstream diversity
that may as well not exist anymore considering the lack of vitality in
those institutions. That battle was won, the fires have been lit and
burn bright in so many other places, why waste so much time and breath
repeatedly stamping on the embers and all the bystanders in between?

c
-- 
Chris Lott


From majenamafe at primusonline.com.au  Fri Feb  1 03:37:38 2008
From: majenamafe at primusonline.com.au (Majena   Mafe)
Date: Fri, 1 Feb 2008 18:37:38 +1000
Subject: [New-Poetry] that-unsound highlights from january
In-Reply-To: <200801311700.m0VH04oN000761@wiz.cath.vt.edu>
Message-ID: <6hfmtm$2ok2bi@smtp06.syd.primusonline.com.au>

Hi, just sharing and caring.from that-unsound
<http://that-unsound.blogspot.com/> 
 
2008 and that-unsound, submissions, interviews and a PhD on sounded language
http://that-unsound.blogspot.com/2008/01/2008-on-that-unsound-submissions.ht
ml
 
(non)-sound II silence from will scrimshaw
http://that-unsound.blogspot.com/2008/01/non-sound-ii-silence-from-will.html
 
(echo notes 1)
http://that-unsound.blogspot.com/2008/01/echo-notes-1.html 
 
(echo note 2.) not the how the what for in writing
http://that-unsound.blogspot.com/2008/01/not-how-what-in-writing-majena-mafe
.html
 
links to my latest text work
http://that-unsound.blogspot.com/2008/01/link-to-my-latest-text-work-majena-
mafe.html
 
new unsound text image voice pieces
http://that-unsound.blogspot.com/2008/01/few-textimages-pieces.html
 
 
miss heard playing 'slips of the ear' (echo notes 3.)
http://that-unsound.blogspot.com/2008/01/miss-heard-playing-slips-of-ear-ech
o.html
 
things I learnt this month;
     the sofa doesn't fit
     there are a lot of cowboys in the room
     my left ear is better for the tricky stuff
     sound ain't noise
the word kangaroo means 'what the?'
you can say all sorts of things but you mightn't be listened to
 
Cheers Majena Mafe
http://that-unsound.blogspot.com/
exploring correlations between sounded oralities and the perverse as a
possible point of departure for 'womens' experimental/
innovative/ecriture/language frames, that 'allow' just that bit extra ...
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From halvard at earthlink.net  Fri Feb  1 11:39:36 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Fri, 1 Feb 2008 10:39:36 -0600
Subject: [New-Poetry] Sonnet
Message-ID: <75AD515A-A115-4742-AD85-24C9149DCF21@earthlink.net>


Sonnet

Decadent cuisine spreads like wildfire from the kitchen
to the upper decks. Sunbathers by the pool dip their chips
in the salsa, take a break from their fasting. San Diego
basks in the sun, as fence-builders move along toward
the east, securing the border against encroachments
by hostile cruise ships. All destinations on sale now that
fine wines are served in half-pints, buddy. Two days left
before we leave port, adventure-bound acupuncturists off
on a spree, leaving the seven-county disaster area behind
in the capable hands of the National Guard. Some redheads
were Neanderthals. Or was it the other way around? DNA
testing does have its limits. McCain vows to follow Osama
to the gates of hell, that half-million acres of smoking ruin.
No air-conditioned medical tents there, one can be sure.


Hal

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


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From mandolin at mac.com  Fri Feb  1 11:42:16 2008
From: mandolin at mac.com (Michael Snider)
Date: Fri, 1 Feb 2008 11:42:16 -0500
Subject: [New-Poetry] Poetry Foundation Letter
In-Reply-To: <7CDF289D-7314-4B24-80C3-C3F98D700A0C@myuw.net>
References: <47A115A0.8010503@opus40.org>
	<Pine.LNX.4.43.0801301641190.6415@hymn14.u.washington.edu>
	<20080131155810.GA2971@sparky.launchmodem.com>
	<7CDF289D-7314-4B24-80C3-C3F98D700A0C@myuw.net>
Message-ID: <91005156-C0FE-4033-8B09-B9CDECB5C0F1@mac.com>


On Jan 31, 2008, at 10:44 PM, Jason Quackenbush wrote:

> Are you really saying that you don't see where there's a likeness  
> between, for example, rae armentrout and susan howe and in that  
> likeness a differentiation from say a sharon olds and donald hall  
> style poet? this is where I think ron silliman has been very  
> insightful in his critiques of the "school of quietude."


I'd say that your putting Donald Hall and Sharon Olds in the same  
bucket is an example of the pernicious flattening of perspective that  
Silliman encourages. I just wrote a blog post on Silliman as the Uncle  
Toby of American poetry, unable to see past his categories even when  
the evidence is staring him in the face:

  http://www.mikesnider.org/formalblog/2008/01/28.html#a765


Silliman's not the only one--polemics (including mine) flatten things.  
Long ago I noted that neither Marjorie Porloff, a better critic than  
Silliman, nor Charles Bernstein,  a better poet and. critic than  
Silliman, seem to be able to recognize iambic pentameter when they  
have an axe to grind. Link to Perloff is in this post:

http://www.mikesnider.org/formalblog/2004/06/17.html#a341

And  for those of you with access to Project Muse through schools or a  
kind friend, here's the link to Bernstein's remark:

http://muse.jhu.edu/journals/modernism-modernity/v003/3.3bernstein.html

For a gaffe of mine own, just consider the title of that June 2004  
post. It was stupid, not clever as I thought at the time.


From mandolin at mac.com  Fri Feb  1 11:58:27 2008
From: mandolin at mac.com (Michael Snider)
Date: Fri, 1 Feb 2008 11:58:27 -0500
Subject: [New-Poetry] Poetry Foundation Letter
In-Reply-To: <7CDF289D-7314-4B24-80C3-C3F98D700A0C@myuw.net>
References: <47A115A0.8010503@opus40.org>
	<Pine.LNX.4.43.0801301641190.6415@hymn14.u.washington.edu>
	<20080131155810.GA2971@sparky.launchmodem.com>
	<7CDF289D-7314-4B24-80C3-C3F98D700A0C@myuw.net>
Message-ID: <FF18B021-3AC9-4AB8-92D8-4621814A1D2F@mac.com>


On Jan 31, 2008, at 10:44 PM, Jason Quackenbush wrote:

> Are you really saying that you don't see where there's a likeness  
> between, for example, rae armentrout and susan howe and in that  
> likeness a differentiation from say a sharon olds and donald hall  
> style poet? this is where I think ron silliman has been very  
> insightful in his critiques of the "school of quietude."


I'd say that your putting Donald Hall and Sharon Olds in the same  
bucket is an example of the pernicious flattening of perspective that  
Silliman encourages. I just wrote a blog post on Silliman as the Uncle  
Toby of American poetry, unable to see past his categories even when  
the evidence is staring him in the face:

  http://www.mikesnider.org/formalblog/2008/01/28.html#a765


Silliman's not the only one--polemics (including mine) flatten things.  
Long ago I noted that neither Marjorie Porloff, a better critic than  
Silliman, nor Charles Bernstein,  a better poet and. critic than  
Silliman, seem to be able to recognize iambic pentameter when they  
have an axe to grind. Link to Perloff is in this post:

http://www.mikesnider.org/formalblog/2004/06/17.html#a341

And  for those of you with access to Project Muse through schools or a  
kind friend, here's the link to Bernstein's remark:

http://muse.jhu.edu/journals/modernism-modernity/v003/3.3bernstein.html

For a gaffe of mine own, just consider the title of that June 2004  
post. It was stupid, not at all clever, as I had supposed.


From mandolin at mac.com  Fri Feb  1 12:30:02 2008
From: mandolin at mac.com (Michael Snider)
Date: Fri, 1 Feb 2008 12:30:02 -0500
Subject: [New-Poetry] Meta
In-Reply-To: <FF18B021-3AC9-4AB8-92D8-4621814A1D2F@mac.com>
References: <47A115A0.8010503@opus40.org>
	<Pine.LNX.4.43.0801301641190.6415@hymn14.u.washington.edu>
	<20080131155810.GA2971@sparky.launchmodem.com>
	<7CDF289D-7314-4B24-80C3-C3F98D700A0C@myuw.net>
	<FF18B021-3AC9-4AB8-92D8-4621814A1D2F@mac.com>
Message-ID: <9D6C510E-6599-49DD-B6F4-74FC9DC1B646@mac.com>

dunno why that last got sent twice--sorry

This world's just mad enough to have been made
By a Being His being's into being prayed.

Howard Nemerov's "Creation Myth on a Moebius Band"



From jforjames at aol.com  Fri Feb  1 16:08:02 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 01 Feb 2008 16:08:02 -0500
Subject: [New-Poetry] Alien Body Snatchers Proliferate As Poet Laureates,
 No Neighborhood or Borough is Safe
Message-ID: <8CA332DAA471521-7F0-512@WEBMAIL-MA04.sysops.aol.com>


http://www.boston.com/news/local/articles/2008/01/31/poet_laureate_spreading_the_words/

Globe Correspondent / January 31, 2008 

NORTH ANDOVER - Mike Souza could give some words of advice to Boston's new poet laureate.

more stories like thisThe city of Boston appointed its first poet laureate this month amid headlines and some controversy, but Souza already has nearly two years under his belt in such a post.

He is the laureate in North Andover, population 27,196. Though the town hasn't nearly the land mass or number of people as Boston, nor quite the Hub's storied literary history, it is one of several communities around the region that decided a while ago that poetry should be lauded.


It is unclear exactly how many officially acclaimed poets exist. 


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From jforjames at aol.com  Fri Feb  1 16:26:13 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 01 Feb 2008 16:26:13 -0500
Subject: [New-Poetry] Modern Library Milton
Message-ID: <8CA333034CEBBC7-4E8-2789@Webmail-mg02.sim.aol.com>


http://online.wsj.com/article/SB120182675406533779.html?mod=googlenews_wsj
Cosmic and Sublime
By JOHN GROSS
February 1, 2008; Page W6

John Milton was born in London in December 1608. Over the coming months, his 400th anniversary will be celebrated in many different ways, but it is highly unlikely that any of the tributes he receives will do as much for him as the appearance of the Modern Library edition of his collected poetry and selected prose.


The edition is a model of its kind, well designed and attractively produced. There are scholarly but unintimidating footnotes and helpful introductions to the major works. Spelling and punctuation have been modernized -- a difficult decision but the right one. The long pages of continuous verse, which could have looked daunting, are easy on the eye (not least thanks to ample leading between the lines). A great deal has been packed in, but Milton has still been left room to breathe.



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From bobgrumman at nut-n-but.net  Fri Feb  1 17:05:30 2008
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Fri, 01 Feb 2008 17:05:30 -0500
Subject: [New-Poetry] Poetry Foundation Letter
In-Reply-To: <FF18B021-3AC9-4AB8-92D8-4621814A1D2F@mac.com>
References: <47A115A0.8010503@opus40.org><Pine.LNX.4.43.0801301641190.6415@hymn14.u.washington.edu><20080131155810.GA2971@sparky.
	launchmodem.com><7CDF289D-7314-4B24-80C3-C3F98D700A0C@myuw.net>
	<FF18B021-3AC9-4AB8-92D8-4621814A1D2F@mac.com>
Message-ID: <47A397AA.6070108@nut-n-but.net>

Just wanna say that the differences between someone who composes visual 
poetry and someone who composes solitextual (i.e., solely textual) 
poetry makes the differences between Ashbury and Wilbur, say, trivial.  
In other words, whether two poets can be considered like each other 
depends on the taxonomical level involved.

--Bob G. 



From jforjames at aol.com  Fri Feb  1 18:58:08 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 01 Feb 2008 18:58:08 -0500
Subject: [New-Poetry] You're Not Here
Message-ID: <8CA33456DF5BE37-C4-389C@FWM-M08.sysops.aol.com>

http://wallacethinksagain.blogspot.com/

AWP 
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From jforjames at aol.com  Fri Feb  1 20:35:51 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 01 Feb 2008 20:35:51 -0500
Subject: [New-Poetry] kinetics poetics
Message-ID: <8CA3353146892DA-658-198A@mblk-d42.sysops.aol.com>


http://www.cityonahillpress.com/article.php?id=999

Kinetics Poetics Project at UCSC
By Edith Yang
The Kinetics Poetics Project, an annual spoken word festival at UC Santa Cruz, will take place Feb. 3 through 7 in the Porter dining hall. There will be six featured artists performing at the festival this year, 
as well as a workshop and open mic on the last day.

Jack Rusk, co-producer of Kinetics Poetics, anticipates that the event will serve as a platform for previously uninvolved people to become inspired to write or participate in spoken word. 


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From jfq at myuw.net  Sat Feb  2 00:11:26 2008
From: jfq at myuw.net (Jason Quackenbush)
Date: Fri, 1 Feb 2008 21:11:26 -0800
Subject: [New-Poetry] Alien Body Snatchers Proliferate As Poet Laureates,
	No Neighborhood or Borough is Safe
In-Reply-To: <8CA332DAA471521-7F0-512@WEBMAIL-MA04.sysops.aol.com>
References: <8CA332DAA471521-7F0-512@WEBMAIL-MA04.sysops.aol.com>
Message-ID: <0DD48E7D-68A2-4970-B9E4-F95677773F7B@myuw.net>

I wonder if I can con the SeaTac city council into naming me the poet  
laureate...

On Feb 1, 2008, at 1:08 PM, jforjames at aol.com wrote:

> http://www.boston.com/news/local/articles/2008/01/31/ 
> poet_laureate_spreading_the_words/
> Globe Correspondent / January 31, 2008
>
> NORTH ANDOVER - Mike Souza could give some words of advice to  
> Boston's new poet laureate.
> more stories like thisThe city of Boston appointed its first poet  
> laureate this month amid headlines and some controversy, but Souza  
> already has nearly two years under his belt in such a post.
> He is the laureate in North Andover, population 27,196. Though the  
> town hasn't nearly the land mass or number of people as Boston, nor  
> quite the Hub's storied literary history, it is one of several  
> communities around the region that decided a while ago that poetry  
> should be lauded.
>
> It is unclear exactly how many officially acclaimed poets exist.
> More new features than ever. Check out the new 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 anny.ballardini at tin.it  Sat Feb  2 06:00:15 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sat, 2 Feb 2008 12:00:15 +0100
Subject: [New-Poetry] the Poets' Corner
Message-ID: <000201c865a6$f3de2e60$0200a8c0@ANNY>

Dear Poetry Community,

 

to welcome the New Year _Western and Chinese_ with plenty of readers and writers and books and sunny and snowy days and with all what we can possibly wish and what we deserve, here is the new 2008 update of the Poets' Corner with:

 

Peter Thompson

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=262

 

Athena Kildegaard

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=263

 

Hoshang Merchant

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=264

 

Bruno Ballardini

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=265

 

Carol Novack

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=266

 

Stephen Vincent

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=267

 

Susan Firer

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=268

 

Evie Shockley

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=269

 

Diane Kendig

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=270

 

Tony Trigilio

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=271

 

Ren Powell

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=272

 

 

New Poems of already Featured Poets:

 

Tad Richards and his ongoing poetic thriller/saga with situations up to Episode XIV - i.e. the end of Book 1; Book 2 soon to follow!

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

 

Barry Alpert

L'INTOUCHABLE [via Benoit Jacquot]

http://www.fieralingue.it/corner.php?pa=printpage&pid=2089

CLEO FROM FIVE TO. [via Agnes Varda]

http://www.fieralingue.it/corner.php?pa=printpage&pid=2090

[A] SECRET DEFENSE [via Jacques Rivette]

http://www.fieralingue.it/corner.php?pa=printpage&pid=2091

CLASSE TOUT RISQUES [via Claude Sautet]

http://www.fieralingue.it/corner.php?pa=printpage&pid=2092

LES AMANTS REGULIERS [via Philippe Garrel]

http://www.fieralingue.it/corner.php?pa=printpage&pid=2093

GRIN WITHOUT A CAT [via Chris Marker]

http://www.fieralingue.it/corner.php?pa=printpage&pid=2094

RESNAIS' PROVIDENCE [via Alain Resnais]

http://www.fieralingue.it/corner.php?pa=printpage&pid=2095

STORMY WATERS [via JEAN GREMILLON & JACQUES PREVERT]

http://www.fieralingue.it/corner.php?pa=printpage&pid=2096

BOUDU SAUVE RENOIR [via Jean Renoir]

http://www.fieralingue.it/corner.php?pa=printpage&pid=2097

FRENCH LADY CHAT [via Pascale Ferran]

http://www.fieralingue.it/corner.php?pa=printpage&pid=2098

 

Richard Dillon

IMMORTAL BIRD LIVING ON A BREEZE

http://www.fieralingue.it/corner.php?pa=printpage&pid=2100

CODA: IMMORTAL BIRD LIVING ON A BREEZE

http://www.fieralingue.it/corner.php?pa=printpage&pid=2101

 

Mark Young's Six ficciones:

The Mao ficcione

http://www.fieralingue.it/corner.php?pa=printpage&pid=2113

The Schwarzvogel Ficcione

http://www.fieralingue.it/corner.php?pa=printpage&pid=2114

Meanwhile Electra

http://www.fieralingue.it/corner.php?pa=printpage&pid=2115

The Mung Economy

http://www.fieralingue.it/corner.php?pa=printpage&pid=2116

The Last Hurrah of the Golden Horde

http://www.fieralingue.it/corner.php?pa=printpage&pid=2117

At Trotsky's Funeral

http://www.fieralingue.it/corner.php?pa=printpage&pid=2118

 

Ram Mehta

The Sounds of Korea

http://www.fieralingue.it/corner.php?pa=printpage&pid=2125

I live quietly

http://www.fieralingue.it/corner.php?pa=printpage&pid=2126

 

Jon Corelis

Epigrams

http://www.fieralingue.it/corner.php?pa=printpage&pid=1980

Turning

http://www.fieralingue.it/corner.php?pa=printpage&pid=2136

 

Charles Martin

CAPTION TO THE VISUAL (.pdf)

http://www.fieralingue.it/corner.php?pa=printpage&pid=2148

 

Riccarda Turrina

Othmar Winkler rivisitato da Riccarda Turrina (.pdf)

http://www.fieralingue.it/corner.php?pa=printpage&pid=2150

 

Sharon Brogan

How does one come to believe in the moon?

http://www.fieralingue.it/corner.php?pa=printpage&pid=2170

Wolf Moon

http://www.fieralingue.it/corner.php?pa=printpage&pid=2172

 

Douglas Barbour

perfect circle

http://www.fieralingue.it/corner.php?pa=printpage&pid=2171

at minus 28C

http://www.fieralingue.it/corner.php?pa=printpage&pid=2179

 

Barry Schwabsky

Diamond Replicas

http://www.fieralingue.it/corner.php?pa=printpage&pid=2180

 

 

Under Poets on Poets:

 

Nabile Far?s translated by Peter Thompson

http://www.fieralingue.it/modules.php?name=poetsonpoets&pa=list_pages_categories&cid=76

 

My translation of Barry Schwabsky's Diary of a Poem into Italian

http://www.fieralingue.it/modules.php?name=poetsonpoets&pa=list_pages_categories&cid=77

 

*

 

I would like to thank all the poets present on the Poets' Corner for their collaboration. As usual the order I follow is the one by which I received the contributions. With my best wishes,

 

 

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  Sat Feb  2 11:39:49 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 2 Feb 2008 11:39:49 EST
Subject: [New-Poetry] Simic Q&A
Message-ID: <bca.1f8fd9b3.34d5f6d5@aol.com>

_http://www.nytimes.com/2008/02/03/magazine/03wwln-q4-t.html?_r=1&ref=books&or
ef=slogin_ 
(http://www.nytimes.com/2008/02/03/magazine/03wwln-q4-t.html?_r=1&ref=books&oref=slogin) 
In-Verse  Thinking 
 
Interview by DEBORAH SOLOMON
Published: February 3, 2008
As the poet  laureate of the United States, what are you doing to increase 
the public?s  interest in poetry at a time when cultural alarmists insist that 
reading is on  its way out? Poetry doesn?t need much promotion. It is doing 
quite well in this  country. I gave a reading the other night in Concord, N.H., 
with two former poet  laureates ? Donald Hall and Maxine Kumin ?and 740 people 
came. That?s a lot of  people! 
 
Your own work is unusually accessible and plainspoken, as the title of a  
newly published survey of your career ? ?Sixty Poems? ? suggests. I also have  
another book coming out in a few weeks, ?That Little Something.?
 
Isn?t the title overly cute? 




**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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From Opus40-01 at opus40.org  Sat Feb  2 12:12:53 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Sat, 02 Feb 2008 12:12:53 -0500
Subject: [New-Poetry] Simic Q&A
In-Reply-To: <bca.1f8fd9b3.34d5f6d5@aol.com>
References: <bca.1f8fd9b3.34d5f6d5@aol.com>
Message-ID: <47A4A495.6020200@opus40.org>

He's not wrong -- 740 is a lot of people, and I don't have a problem 
with the fact that mainstream poetry reaches a stream of readers which 
is more main. People are goiug to like what they're going to like, and 
if Ron Silliman or Geof Huth or Aram Saroyan or Rae Armantrout were 
named Poet Laureate tomorrow, they still wouldn't draw crowds like 
Donald Hall or Mazine Kumin. And that's not a criticism of the quality 
of either the School of Quietude or the School of Noisitude.

But it's still a copout. The post of Poet Laureate, since it doesn't 
involve writing poems for state occasions, has kinda come to mean doing 
something to increase the recognition of poetry. And the NBA draws more 
people than a poetry reading, but that doesn't mean David Stern isn't 
still working on ways to increase the popularity of basketball.

Maybe the aim isn't to top 740, but it should be something. How about 
encouraging poets like Hall and Kumin, instead of reading together, to 
read with a School of Noisitude poet, and expose the existing poetry 
audiences to a wider range of possibilities?

JforJames at aol.com wrote:
> http://www.nytimes.com/2008/02/03/magazine/03wwln-q4-t.html?_r=1&ref=books&oref=slogin 
> <http://www.nytimes.com/2008/02/03/magazine/03wwln-q4-t.html?_r=1&ref=books&oref=slogin>
> In-Verse Thinking
>  
> Interview by DEBORAH SOLOMON
> Published: February 3, 2008
> As the poet laureate of the United States, what are you doing to 
> increase the public?s interest in poetry at a time when cultural 
> alarmists insist that reading is on its way out? Poetry doesn?t need 
> much promotion. It is doing quite well in this country. I gave a 
> reading the other night in Concord, N.H., with two former poet 
> laureates ? Donald Hall and Maxine Kumin ?and 740 people came. That?s 
> a lot of people!
>  
> Your own work is unusually accessible and plainspoken, as the title of 
> a newly published survey of your career ? ?Sixty Poems? ? suggests. I 
> also have another book coming out in a few weeks, ?That Little Something.?
>  
> Isn?t the title overly cute?
>
>
>
> ------------------------------------------------------------------------
> Who's never won? Biggest Grammy Award surprises of all time on AOL 
> Music. 
> <http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp00300000002548>
>
> ------------------------------------------------------------------------
>
> _______________________________________________
> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From roxy533 at yahoo.com  Sat Feb  2 14:46:29 2008
From: roxy533 at yahoo.com (Roxanne Hoffman)
Date: Sat, 2 Feb 2008 11:46:29 -0800 (PST)
Subject: [New-Poetry] Inscribed Volume Three Issue One Is Live! Call for
	Submissions for Next Issue 
Message-ID: <115789.223.qm@web39613.mail.mud.yahoo.com>

Inscribed Volume Three Issue One Is Live! Call for
Submissions for Next Issue 


Date: Sat, 2 Feb 2008 04:09:29 +0000 (GMT) 
From: "Kyle Richtig" <kyle at inscribed.org> 
To: "krichtig at hotmail.com" <krichtig at hotmail.com> 
Subject: Volume Three Issue One Is Live! 

Plain Text Attachment [ Scan and Save to Computer ] 

Hi All!! 

Inscribed's newest issue, Volume Three Issue One, is
now live. Come download it for free at
www.inscribed.org 

Volume Three will consist of six issues, continued
from Volume Two. In the months alternate to new issues
of Inscribed, we will continue to produce rtso. rtso
is now accessible from the homepage of Inscribed, no
longer confined to the .rss feed. The next rtso will
be in March, and will feature the amazing art of Ariel
Rubin. 

Volume Three Issue One features the contributions of:
Adam Jeffries Schwartz, Byron Barrett, John A.
Thompson Sr., Valli Boldini, Susan Ioannou, Gary
Lehmann, John Watson, Corey Lewis, J.J. Steinfeld, Dan
Rubin, R.W. Watkins, Roxanne Hoffman, j ocean dennie,
Charles M. Anderson, Robert Steer, and Kevin Craig. 

We are currently accepting submissions of artwork,
fiction, poetry and essays for Volume Three Issue Two.
For full guidelines (which have been updated this
year), please visit www.inscribed.org/submit.html 

Deadline for the next issue of Inscribed is March
25th, 2008. 

Best regards

Kyle Richtig
Editor
Inscribed
www.inscribed.org



***

POETS WEAR PRADA
C/O Roxanne Hoffman
533 Bloomfield Street
2nd Floor 
Hoboken, NJ 07030
http://poetswearpradanj.home.att.net

POETS WEAR PRADA is a small press based in Hoboken, New Jersey 
devoted to introducing new authors through limited edition, high-
quality chaplets, primarily of poetry

'New press, great authors, a publisher who is one miracle short of 
sainthood.' - Angelo Verga, Poetry Curator of The Cornelia Street Cafe

'Poets Wear Prada is a poetry publishing house with excellent poets 
and affordable books with beautiful covers. Have you had your poetry 
today?' - Meredith Sue Willis, Books for Readers

'Stylistically, these beautifully designed and produced chaplets bear 
their own distinctive signature. - Linda Lerner, Small Press Review"

Proud Member of the Council of Literary Magazines & Presses
 

***

join our yahoo group at 
http://groups.yahoo.com/group/poetswearprada/

and become our friend on myspace at:
http://www.myspace.com/poetswearprada


From anny.ballardini at tin.it  Sat Feb  2 16:09:35 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sat, 2 Feb 2008 22:09:35 +0100
Subject: [New-Poetry] forwarding: Joel Weishaus
Message-ID: <015201c865df$e9e6f980$0200a8c0@ANNY>

I'm pleased announce the beginning of what I plan to be a monthly blog, titled "Reality Too":

Introduction: http://web.pdx.edu/~pdx00282/blog/intro.htm

January (direct link): http://web.pdx.edu/~pdx00282/blog/January.htm

-Joel

__________________________________

Joel Weishaus
Research Faculty
Department of English
Portland State University
Portland, Oregon
http://web.pdx.edu/~pdx00282


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

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 Feb  2 18:26:58 2008
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Sat, 02 Feb 2008 18:26:58 -0500
Subject: [New-Poetry] Simic Q&A
In-Reply-To: <47A4A495.6020200@opus40.org>
References: <bca.1f8fd9b3.34d5f6d5@aol.com> <47A4A495.6020200@opus40.org>
Message-ID: <47A4FC42.1080303@nut-n-but.net>



TheOldMole wrote:
> He's not wrong -- 740 is a lot of people, and I don't have a problem 
> with the fact that mainstream poetry reaches a stream of readers which 
> is more main. People are goiug to like what they're going to like, and 
> if Ron Silliman or Geof Huth or Aram Saroyan or Rae Armantrout were 
> named Poet Laureate tomorrow, they still wouldn't draw crowds like 
> Donald Hall or Mazine Kumin. And that's not a criticism of the quality 
> of either the School of Quietude or the School of Noisitude.
>
> But it's still a copout. The post of Poet Laureate, since it doesn't 
> involve writing poems for state occasions, has kinda come to mean 
> doing something to increase the recognition of poetry. And the NBA 
> draws more people than a poetry reading, but that doesn't mean David 
> Stern isn't still working on ways to increase the popularity of 
> basketball.
>
> Maybe the aim isn't to top 740, but it should be something. How about 
> encouraging poets like Hall and Kumin, instead of reading together, to 
> read with a School of Noisitude poet, and expose the existing poetry 
> audiences to a wider range of possibilities?
Hmm, what you been eatin', Mole?

Way back when, when I was trying to make it as a playwright with even 
less success than I have had as a poet, I used to think that if I ever 
got famous, I would not let any theatre produce my work that had not 
produced one work by a total unknown within the previous year.

--Bob G.




From jforjames at aol.com  Sat Feb  2 19:38:18 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Sat, 02 Feb 2008 19:38:18 -0500
Subject: [New-Poetry] Alien Body Snatchers Proliferate As Poet Laureates,
	No Neighborhood or Borough is Safe
In-Reply-To: <0DD48E7D-68A2-4970-B9E4-F95677773F7B@myuw.net>
References: <8CA332DAA471521-7F0-512@WEBMAIL-MA04.sysops.aol.com>
	<0DD48E7D-68A2-4970-B9E4-F95677773F7B@myuw.net>
Message-ID: <8CA34143451DDD3-C30-C6A@webmail-md10.sysops.aol.com>

seattle-tacoma?...you're in one of those 'tween worlds like Bob's vizpo...no one will pay enuf attention.


-----Original Message-----
From: Jason Quackenbush <jfq at myuw.net>
Bcc: jforjames at aol.com
Sent: Sat, 2 Feb 2008 12:11 am
Subject: Re: [New-Poetry] Alien Body Snatchers Proliferate As Poet Laureates, No Neighborhood or Borough is Safe


I wonder if I can con the SeaTac city council into naming me the poet laureate...





________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From jforjames at aol.com  Sat Feb  2 19:53:52 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Sat, 02 Feb 2008 19:53:52 -0500
Subject: [New-Poetry] WorldPo: Greeks sail to Ilium again
Message-ID: <8CA3416611525E3-F20-9C53@WEBMAIL-MB19.sysops.aol.com>


http://www.turkishdailynews.com.tr/article.php?enewsid=95328
Greek poets reach shores of Turkey 
Saturday, February 2, 2008
? 
?
Turkish poetry lovers have encountered the works of Nobel laureate Giorgos Seferis, Constantine P. Cavafy and Yannis Ritsos, three of the most distinguished Greek poets of the 20th century, thanks to prominent Turkish poet ?zdemir ?nce?s translations


? Many steps toward friendliness and peace between Turkey and Greece have been taken thanks to ?zdemir ?nce's translations of fabulous verses by Greek poets into Turkish. 

?? Thanks to ?nce, Turkish readers on the other side of the Aegean Sea have been able to meet with works by Nobel laureate Giorgos Seferis, Constantine P. Cavafy and Yannis Ritsos, each a grand figure in Greek poetry. 

?
?
?


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From jfq at myuw.net  Sat Feb  2 20:08:52 2008
From: jfq at myuw.net (Jason Quackenbush)
Date: Sat, 2 Feb 2008 17:08:52 -0800
Subject: [New-Poetry] Simic Q&A
In-Reply-To: <47A4FC42.1080303@nut-n-but.net>
References: <bca.1f8fd9b3.34d5f6d5@aol.com> <47A4A495.6020200@opus40.org>
	<47A4FC42.1080303@nut-n-but.net>
Message-ID: <81B7D8EE-4417-46D4-AFC0-787D9AB661AD@myuw.net>

It's an interesting thought. Rather than being antagonistic to other  
aesthetics the way we so often are, shouldn't we all just recognize  
that poetry isn't the NBA, and that while some poets have more  
mainstream appeal, and that's good for poetry, other poets are  
pushing at the boundaries of what's possible, and that's good for  
poetry too. As specialists, what we all ought to be doing is doing  
what we can to support eachothers strengths, the mainstream  
powerhouses can share some of the limelight and encourage their  
readers to a broader spectrum, and in turn the rest of us can lay off  
talking about how boring we think the mainstream powerhouses are, and  
really anything else they might like help with. Letting many flowers  
bloom doesn't seem to be an approach that has any sort of drawback  
for anybody. Of course that said, I reserve the right to talk trash  
about Billy Collins.

On Feb 2, 2008, at 3:26 PM, Bob Grumman wrote:

>
>
> TheOldMole wrote:
>> He's not wrong -- 740 is a lot of people, and I don't have a  
>> problem with the fact that mainstream poetry reaches a stream of  
>> readers which is more main. People are goiug to like what they're  
>> going to like, and if Ron Silliman or Geof Huth or Aram Saroyan or  
>> Rae Armantrout were named Poet Laureate tomorrow, they still  
>> wouldn't draw crowds like Donald Hall or Mazine Kumin. And that's  
>> not a criticism of the quality of either the School of Quietude or  
>> the School of Noisitude.
>>
>> But it's still a copout. The post of Poet Laureate, since it  
>> doesn't involve writing poems for state occasions, has kinda come  
>> to mean doing something to increase the recognition of poetry. And  
>> the NBA draws more people than a poetry reading, but that doesn't  
>> mean David Stern isn't still working on ways to increase the  
>> popularity of basketball.
>>
>> Maybe the aim isn't to top 740, but it should be something. How  
>> about encouraging poets like Hall and Kumin, instead of reading  
>> together, to read with a School of Noisitude poet, and expose the  
>> existing poetry audiences to a wider range of possibilities?
> Hmm, what you been eatin', Mole?
>
> Way back when, when I was trying to make it as a playwright with  
> even less success than I have had as a poet, I used to think that  
> if I ever got famous, I would not let any theatre produce my work  
> that had not produced one work by a total unknown within the  
> previous year.
>
> --Bob G.
>
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry



From jfq at myuw.net  Sun Feb  3 00:22:19 2008
From: jfq at myuw.net (Jason Quackenbush)
Date: Sat, 2 Feb 2008 21:22:19 -0800
Subject: [New-Poetry] Alien Body Snatchers Proliferate As Poet Laureates,
	No Neighborhood or Borough is Safe
In-Reply-To: <8CA34143451DDD3-C30-C6A@webmail-md10.sysops.aol.com>
References: <8CA332DAA471521-7F0-512@WEBMAIL-MA04.sysops.aol.com>
	<0DD48E7D-68A2-4970-B9E4-F95677773F7B@myuw.net>
	<8CA34143451DDD3-C30-C6A@webmail-md10.sysops.aol.com>
Message-ID: <B4475BB3-029E-4E77-B670-5C0321A33547@myuw.net>

I call it Nowhere City. There are worse places to be, better places  
to be, more exciting places to be, less exciting places to be. But  
nowhere on earth is a less important than The City of SeaTac. The  
idea of being the poet laureate of Nowhere City is sort of appealing  
for that reason alone. Maybe by virtue of the vacuousness of the post  
I can just be it by declaring it myself, kind of the same way it was  
great that Norton I was Emperor of America.
On Feb 2, 2008, at 4:38 PM, jforjames at aol.com wrote:

> seattle-tacoma?...you're in one of those 'tween worlds like Bob's  
> vizpo...no one will pay enuf attention.
>
>
> -----Original Message-----
> From: Jason Quackenbush <jfq at myuw.net>
> Bcc: jforjames at aol.com
> Sent: Sat, 2 Feb 2008 12:11 am
> Subject: Re: [New-Poetry] Alien Body Snatchers Proliferate As Poet  
> Laureates, No Neighborhood or Borough is Safe
>
> I wonder if I can con the SeaTac city council into naming me the  
> poet laureate...
>
> More new features than ever. Check out the new 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 anny.ballardini at tin.it  Sun Feb  3 07:20:06 2008
From: anny.ballardini at tin.it (anny.ballardini at tin.it)
Date: Sun, 3 Feb 2008 07:20:06 -0500
Subject: [New-Poetry] NYTimes.com: The Gray Areas of Jasper Johns
Message-ID: <200802031220.m13CK6oK015173@wiz.cath.vt.edu>

This page was sent to you by: anny.ballardini at tin.it.

ARTS / ART & DESIGN | February 3, 2008
Art: The Gray Areas of Jasper Johns
By CAROL VOGEL
Mr. Johns seems to have perfected the art of talking about his work without ever revealing too much.

http://www.nytimes.com/2008/02/03/arts/design/03voge.html?ex=1202706000&en=cd23866375ebc3a7&ei=5070&emc=eta1




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

ABOUT THIS E-MAIL
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From blacksox at att.net  Sun Feb  3 15:11:23 2008
From: blacksox at att.net (blacksox at att.net)
Date: Sun, 03 Feb 2008 20:11:23 +0000
Subject: [New-Poetry] Contemporary Poetry News &amp
Message-ID: <020320082011.21851.47A61FEB000823430000555B22243322829B0A02D29B9B0EBF98019C050C0E040D@att.net>

It sounded like it was great news. Sometimes things sound much better than what they are in reality. Poetry in not the NBA, but rapp reaches the same base. spoken word is rapp without music  (six degrees of separation?)
  For poets that are pushing the boundaries, and changing how the common man defines poetry, you now have to expose your work to a broader audience. How that is done is the tough part. Children love visual poetry. If you can expose young minds to it, there is no telling where it may lead.

Russ Golata
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From Opus40-01 at opus40.org  Sun Feb  3 15:14:31 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Sun, 03 Feb 2008 15:14:31 -0500
Subject: [New-Poetry] The Death of Dick Stilwell
Message-ID: <47A620A7.3010108@opus40.org>

You don't have to take off your hat...it happened over 40 years ago. But 
the story of it, told in part by yours truly, is up on the interntet now 
(footage from a documentary on Woodstock), and I've linked to it through 
my blog.

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

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From JforJames at aol.com  Sun Feb  3 16:16:07 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 3 Feb 2008 16:16:07 EST
Subject: [New-Poetry] Alien Body Snatchers Proliferate As Poet Laureates,
	No Neigh...
Message-ID: <cb1.2416aa09.34d78917@aol.com>

 
In a message dated 2/3/2008 12:26:39 AM Eastern Standard Time, jfq at myuw.net  
writes:

idea of  being the poet laureate of Nowhere City is sort of appealing for 
that reason  alone


There's a poem in that thought, for sure.
Finnegan



**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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From JforJames at aol.com  Sun Feb  3 16:28:59 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 3 Feb 2008 16:28:59 EST
Subject: [New-Poetry] Fwd: Aphorisms, the symposium
Message-ID: <d4a.20cc761f.34d78c1b@aol.com>





**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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Subject: Aphorisms, the symposium
Date: Mon, 28 Jan 2008 10:46:04 +0000
Size: 10740
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From JforJames at aol.com  Sun Feb  3 16:33:13 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 3 Feb 2008 16:33:13 EST
Subject: [New-Poetry] only football (American) poem I know
Message-ID: <d45.1fbc2290.34d78d19@aol.com>

Autumn Begins in Martins Ferry, Ohio
 
In the Shreve High football stadium,
I think of Polacks nursing long  beers in Tiltonsville,
And gray faces of Negroes in the blast furnace at  Benwood,
And the ruptured night watchman of Wheeling Steel,
Dreaming of  heroes.
 
All the proud fathers are ashamed to go home.
Their women cluck like  starved pullets,
Dying for love.
 
Therefore, 
Their sons grows suicidally beautiful
At the beginning of  October,
And gallop terribly against each other?s bodies.  
 
--James Wright

--
Go Pats!
Finnegan



**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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From JforJames at aol.com  Sun Feb  3 16:47:51 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 3 Feb 2008 16:47:51 EST
Subject: [New-Poetry] Re: Aphorisms, the symposium
Message-ID: <bd0.242e3cab.34d79087@aol.com>

 
In a message dated 1/28/2008 5:46:15 AM Eastern Standard Time,  
gearyjames at googlemail.com writes:

Dear  Aphorism Aficionado,

I am sending you this email because we have  corresponded at some point in 
the recent past about aphorisms, and I wanted to  alert you to a one-day 
symposium I've organized on the subject on March 14  in London. Please feel free to 
pass this email on to others whom you think  might be interested.

The symposium?The World in a Phrase:  Philosophy and the Aphorism?is 
sponsored by  the Institute of Philosophy and Goodenough College and takes  place in 
the Great Hall of London House at Goodenough College (Mecklenburgh  Square, 
WC1) in London. The aphorism - a world of thought compacted into a  single 
phrase - is the oldest written form of literature on the planet.  The aphorism is 
also the oldest form of philosophical writing, dating back to  the earliest 
moral and cosmological musings of the ancient Egyptians and  Chinese. Yet there 
remains no manner of thinking better suited to  contemporary times - and this 
one-day symposium will explore why. Poets,  professors, artists, philosophers, 
psychologists and comedians (and  aphorists!) from Europe and the U.S. will 
gather to discuss and celebrate the  aphorism as a privileged vehicle for 
grappling with the deepest  questions facing our world - and will show how the 
aphorism is just  the ticket if you are tired of ideologies but haven't given up on 
truth. We  have a great line-up of participants; an overview and information 
about  tickets can be found on the Institute of Philosophy's website:  

_http://www.philosophy.sas.ac.uk/content.php?id=43&pid=12_ 
(http://www.philosophy.sas.ac.uk/content.php?id=43&pid=12)   
_<http://www.philosophy.sas.ac.uk/content.php?id=43&amp;pid=12>_ 
(http://www.philosophy.sas.ac.uk/content.php?id=43&pid=12)   


Myself and several other participants are also  planning to create a World 
Aphorism Forum?an international network of  aphorists and aphorism lovers?and 
use the symposium to hold an inaugural  meeting. For anyone interested in 
taking part, we'll meet at the University of  London around noon on Saturday March 
15, the day after the symposium. If  you're interested in becoming part of of 
the WAF but can't attend the  symposium, I will circulate details by email 
(unless you tell me otherwise)  after the event.

On the evening before the symposium?Thursday March  13?I will be doing my 
"juggling aphorisms" show @ 6:30 p.m. at  Waterstones bookshop on Gower Street.
(_  http://www.waterstones.com/waterstonesweb/navigate.do?pPageID=200006_ 
(http://www.waterstones.com/waterstonesweb/navigate.do?pPageID=200006) )
How can aphorisms change your  life? Find out at James Geary's juggling 
aphorism show. Geary presents a  mix of memoir, literary history, audience 
participation?and live juggling,  with words and balls. Geary roams through the 
audience, inviting people to  randomly pick an aphorism from a globe and read it 
aloud; Geary then tells  something about that aphorism and the person who wrote 
it, weaving in personal  and historical anecdote. Geary's authors range from 
Aristotle and Muhammad Ali  to Mae West and the Zen masters, and some 350 
aphorists in between, from the  beginnings of the aphorism in ancient Egypt and 
China right up to the present  day. There are also several blank strips of paper 
in the globe. If an audience  member draws one of these, they can name any 
theme and Geary must cite a  related aphorism on the spot. If he fails, they get a 
free copy of the book!  
 
 


A good time, and great aphorisms, are guaranteed for  all...

Thanks and best,
James

PS: If you don't wish to  receive emails about aphorisms, please let me know 
by replying to that effect.  Alternatively, if you know of others who might be 
interested in receiving  emails about aphorisms, please reply to that effect, 
too. Thank  you




 
 
--



**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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From rwilsnac at medicine.nodak.edu  Sun Feb  3 16:54:36 2008
From: rwilsnac at medicine.nodak.edu (Richard Wilsnack)
Date: Sun, 03 Feb 2008 15:54:36 -0600
Subject: [New-Poetry] only football (American) poem I know
In-Reply-To: <d45.1fbc2290.34d78d19@aol.com>
References: <d45.1fbc2290.34d78d19@aol.com>
Message-ID: <47A6381C.6020800@medicine.nodak.edu>

Because the supply of U. S. football poetry is so scarce, it is worth 
adding (at least for those old enough to remember) Randall Jarrell's 
farewell to Big Daddy Lipscomb, of the (then) Los Angeles Rams, 
Baltimore Colts, and Pittsburgh Steelers.

SAY GOOD-BYE TO BIG DADDY
By Randall Jarrell

Big Daddy Lipscomb, who used to help them up
After he'd pulled them down, so that ''the children
Won't think Big Daddy's mean''; Big Daddy Lipscomb,
Who stood unmoved among the blockers, like the Rock
Of Gibralter in a life insurance ad,
Until the ball carrier came, and Daddy got him;
Big Daddy Lipscomb, being carried down an aisle
Of women by Night Train Lane, John Henry Johnson,
And Lenny Moore; Big Daddy, his three ex-wives,
His fiancee, and the grandfather who raised him
Going to his grave in five big Cadillacs;
Big Daddy, who found football easy enough, life hard enough
To -- after his last night cruising Baltimore
In his yellow Cadillac -- to die of heroin;
Big Daddy, who was scared, he said: ''I've been scared
Most of my life. You wouldn't think so to look at me.
It gets so bad I cry myself to sleep -- '' his size
Embarrassed him, so that he was helped by smaller men
And hurt by smaller men; Big Daddy Lipscomb
Has helped to his feet the last ball carrier, Death.
The big black man in the television set
Whom the viewers stared at -- sometimes, almost were --
Is a blur now; when we get up to adjust the set,
It's not the set, but a NETWORK DIFFICULTY.
The world won't be the same without Big Daddy.
Or else it will be.

Reprinted in _The Sporting Spirit: Athletes, Literature and Life_,' 
edited by Robert Higgs, Harcourt Brace, 1977.

Richard W. Wilsnack
rwilsnac at medicine.nodak.edu
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From Edward.Byrne at valpo.edu  Sun Feb  3 17:06:36 2008
From: Edward.Byrne at valpo.edu (Edward Byrne)
Date: Sun, 03 Feb 2008 16:06:36 -0600
Subject: [New-Poetry] only football (American) poem I know
In-Reply-To: <d45.1fbc2290.34d78d19@aol.com>
References: <d45.1fbc2290.34d78d19@aol.com>
Message-ID: <47A5E68A.7112.006E.0@valpo.edu>

Nice Timing. I have an article about this poem and the Super Bowl
currently on the VPR "One Poet's Notes" blog, although I add that I will
be rooting for the Giants:

http://edwardbyrne.blogspot.com/

--Ed
 
 

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

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

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

>>> <JforJames at aol.com> 02/03/08 3:33 PM >>> 
Autumn Begins in Martins Ferry, Ohio
 
In the Shreve High football stadium,
I think of Polacks nursing long  beers in Tiltonsville,
And gray faces of Negroes in the blast furnace at  Benwood,
And the ruptured night watchman of Wheeling Steel,
Dreaming of  heroes.
 
All the proud fathers are ashamed to go home.
Their women cluck like  starved pullets,
Dying for love.
 
Therefore, 
Their sons grows suicidally beautiful
At the beginning of  October,
And gallop terribly against each other?s bodies.  
 
--James Wright

--
Go Pats!
Finnegan



**************Biggest Grammy Award surprises of all time on AOL Music. 
   
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)



From JforJames at aol.com  Sun Feb  3 17:22:28 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 3 Feb 2008 17:22:28 EST
Subject: [New-Poetry] only football (American) poem I know
Message-ID: <d3f.2228980b.34d798a4@aol.com>

 
In a message dated 2/3/2008 5:07:20 PM Eastern Standard Time,  
Edward.Byrne at valpo.edu writes:

I add  that I will
be rooting for the Giants:


_http://www.grandstandsports.com/pages/8471.htm_ 
(http://www.grandstandsports.com/pages/8471.htm) 
 
Ely, it's been nice to know you.
Finnegan



**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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From mandolin at mac.com  Sun Feb  3 17:25:01 2008
From: mandolin at mac.com (Michael Snider)
Date: Sun, 3 Feb 2008 17:25:01 -0500
Subject: [New-Poetry] only football (American) poem I know
In-Reply-To: <d45.1fbc2290.34d78d19@aol.com>
References: <d45.1fbc2290.34d78d19@aol.com>
Message-ID: <C99A0460-A368-4EEF-898A-DB2ED6A57327@mac.com>

>

Here's the last two sections of Howard Nemerov's "Watching Football on  
TV":

VI

Passing and catching overcome the world,
The hard condition of the world, they do
Human intention honor in the world.
A football wants to wobble, that's its shape
And nature, and to make it spiral true
's a triumph in itself, to make it hit
The patterning receiver on the hands
The instant he looks back, well, that's to be
For the time being in a state of grace,
And move the viewers in their living rooms
To lost nostalgic visions of themselves
As in an earlier, other world where grim
Fate in the form of gravity may be
Not merely overcome, but overcome
Casually and with style, and that is grace.


VII

Each year brings rookies and makes veterans,
The have their dead by now, their wounded as well,
They have Immortals in a Hall of Fame,
They have the stories of the tribe, the plays
And instant replays many times replayed.
But even fame will tire of its fame,
And immortality itself will fall asleep.
It's taken many years, but yet in time,
To old men crouched before the ikon's changes,
Changes become reminders, all the games
Are blended in one vast remembered game
Of similar images simultaneous
And superposed; nothing surprises us
Nor can delight, though we see the tight end
Stagger into the end zone again again.

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



It's much too long to type in full, but I've loved this poem for  
years--I mentioned it in an essay I wrote more than a quarter century  
ago, "You Must Love Poems, Not Poetry." I still put the essay on my  
website: http://www.mikesnider.org/poetry/mypoems/ and scroll down  
just a little.


From AlMaginnes at aol.com  Sun Feb  3 18:56:00 2008
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Sun, 3 Feb 2008 18:56:00 EST
Subject: [New-Poetry] only football (American) poem I know
Message-ID: <c69.20e34cb6.34d7ae90@aol.com>

James Dickey has a poem called "In the Pocket," which I believe might have  
been commissioned by Life or some other magazine.



**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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From anny.ballardini at tin.it  Mon Feb  4 12:03:54 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 4 Feb 2008 18:03:54 +0100
Subject: [New-Poetry] I know
References: <c69.20e34cb6.34d7ae90@aol.com>
Message-ID: <001e01c8674f$ec90f7a0$88ee3652@ANNY>

what poetry is

the utmost pleasure with the utmost work

:-)
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From jforjames at aol.com  Mon Feb  4 13:58:45 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 04 Feb 2008 13:58:45 -0500
Subject: [New-Poetry] Aphorisms, the symposium
In-Reply-To: <bd0.242e3cab.34d79087@aol.com>
References: <bd0.242e3cab.34d79087@aol.com>
Message-ID: <8CA35771A2C0821-7EC-CD5@MBLK-M23.sysops.aol.com>

Sorry, I posted this announcement?twice yesterday, but I also want to call?your attention to James Geary's blog...
http://www.jamesgeary.com/blog/
His newest book, Geary's Guide to?the World's Great Aphorists?
http://www.jamesgeary.com/
alerted me to the fact that poet Alfred Corn has a book of aphorisms called Pith Helmet, Cummington Press 1992. I'll post a few by Corn?tomorrow.

Recently, as you can see, Geary posted a few Mina Loy aphorisms...
http://www.jamesgeary.com/blog/?p=137

Finnegan
-----Original Message-----
From: JforJames at aol.com
To: new-poetry at wiz.cath.vt.edu
Sent: Sun, 3 Feb 2008 4:47 pm
Subject: [New-Poetry] Re: Aphorisms, the symposium




In a message dated 1/28/2008 5:46:15 AM Eastern Standard Time, gearyjames at googlemail.com writes:

Dear Aphorism Aficionado,

I am sending you this email because we have corresponded at some point in the recent past about aphorisms, and I wanted to alert you to a one-day symposium I've organized on the subject on March 14 in London. Please feel free to pass this email on to others whom you think might be interested.

The symposium?The World in a Phrase: Philosophy and the Aphorism?is sponsored by the Institute of Philosophy and Goodenough College and takes place in the Great Hall of London House at Goodenough College (Mecklenburgh Square, WC1) in London. The aphorism - a world of thought compacted into a single phrase -?is the oldest written form of literature on the planet. The aphorism is also the oldest form of philosophical writing, dating back to the earliest moral and cosmological musings of the ancient Egyptians and Chinese. Yet there?remains no manner of thinking better suited to contemporary times - and this one-day symposium will explore why. Poets, professors, artists, philosophers, psychologists and comedians (and aphorists!) from Europe and the U.S. will gather to discuss and celebrate the aphorism as a privileged vehicle?for?grappling with the deepest questions facing?our world?- and will show how the aphorism is just the ticket if you are tired of ideologies but haven't given up on truth. We have a great line-up of participants; an overview and information about tickets can be found on the Institute of Philosophy's website: 

http://www.philosophy.sas.ac.uk/content.php?id=43&pid=12 <http://www.philosophy.sas.ac.uk/content.php?id=43&amp;pid=12> 


Myself and several other participants are also planning to create a World Aphorism Forum?an international network of aphorists and aphorism lovers?and use the symposium to hold an inaugural meeting. For anyone interested in taking part, we'll meet at the University of London around noon on Saturday March 15, the day after the symposium. If you're interested in becoming part of of the WAF but can't attend the symposium, I will circulate details by email (unless you tell me otherwise) after the event.

On the evening before the symposium?Thursday March 13?I will be doing my "juggling aphorisms" show @ 6:30 p.m. at Waterstones bookshop on Gower Street.
( http://www.waterstones.com/waterstonesweb/navigate.do?pPageID=200006)
How can aphorisms change your life? Find out at James Geary's juggling aphorism show. Geary presents a mix of memoir, literary history, audience participation?and live juggling, with words and balls. Geary roams through the audience, inviting people to randomly pick an aphorism from a globe and read it aloud; Geary then tells something about that aphorism and the person who wrote it, weaving in personal and historical anecdote. Geary's authors range from Aristotle and Muhammad Ali to Mae West and the Zen masters, and some 350 aphorists in between, from the beginnings of the aphorism in ancient Egypt and China right up to the present day. There are also several blank strips of paper in the globe. If an audience member draws one of these, they can name any theme and Geary must cite a related aphorism on the spot. If he fails, they get a free copy of the book! 




A good time, and great aphorisms, are guaranteed for all...

Thanks and best,
James

PS: If you don't wish to receive emails about aphorisms, please let me know by replying to that effect. Alternatively, if you know of others who might be interested in receiving emails about aphorisms, please reply to that effect, too. Thank you






?

?

--




Who's never won? Biggest Grammy Award surprises of all time on AOL Music.



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


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From jforjames at aol.com  Mon Feb  4 18:07:40 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 04 Feb 2008 18:07:40 -0500
Subject: [New-Poetry] Need 2 for Oliver
Message-ID: <8CA3599E0538429-188-925@Webmail-mg02.sim.aol.com>


http://seattlepi.nwsource.com/books/349761_oliver02.html?source=mypi

Poet-mania: Mary Oliver's sold-out appearance sparks a ticket frenzy on Craigslist
By JOHN MARSHALL
P-I BOOK CRITIC

Here's a Seattle popular culture quiz. Pick the item that doesn't belong:

a) Seattle's 2,500-seat Benaroya Hall sold out in record time.

b) The box office besieged with requests for more tickets.

c) Anguished fans seeking tickets on Craigslist.

d) A reading by a poet.

Smart money would be on D), but smart money would be wrong. Poet Mary Oliver's appearance Monday at Benaroya Hall is the fastest sellout in the 20-year history of Seattle Arts & Lectures. It is sparking ticket action on the local Craigslist, where tickets to rock concerts and sports playoffs are regularly bought and sold, but rarely to poetry readings.

Take that, Minneapolis. The Twin City may have supplanted Seattle as the country's "most literate city" in an annual survey but the Oliver sellout demonstrates that Seattle still has its zealous literary enthusiasts.



________________________________________________________________________
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From jforjames at aol.com  Mon Feb  4 18:15:16 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 04 Feb 2008 18:15:16 -0500
Subject: [New-Poetry] Poetry's Poet
Message-ID: <8CA359AF02AE9A1-188-9A1@Webmail-mg02.sim.aol.com>


http://www.nytimes.com/2008/02/03/books/review/Brouwer-t.html?bl&ex=1202187600&en=de02619f0e90b2dd&ei=5087%0A

The Civic Poet 

By JOEL BROUWER
Published: February 3, 2008

Robert Pinsky has been writing outstanding poems for more than 30 years ? ?Gulf Music? is his seventh collection ? but you?re more likely to know him for his poetry advocacy than for his own examples of the art. Given Pinsky?s public profile, this is more than understandable; he has served as a highly visible poet laureate of the United States for an unprecedented three terms, founded the acclaimed Favorite Poem Project (and edited or co-edited several resulting anthologies, including ?Americans? Favorite Poems? and ?An Invitation to Poetry?), fashioned an eloquent translation of Dante?s ?Inferno,? written a regular ?Poet?s Choice? column for The Washington Post, moderated a ?Meta-Free-Phor-All? on ?The Colbert Report? and read one of his poems during a cameo appearance on ?The Simpsons.? (No token haiku, either! A real live longish poem!) No other living American poet ? no other living American, probably ? has done so much to put poetry before the public eye.

















________________________________________________________________________
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From anny.ballardini at tin.it  Tue Feb  5 04:33:41 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Tue, 5 Feb 2008 10:33:41 +0100
Subject: [New-Poetry] Borges
Message-ID: <003e01c867da$32013310$d8ee3652@ANNY>

They say Ulysses, wearied of wonders,
wept with love on seeing Ithaca,
humble and green. Art is that Ithaca,
a green eternity, not wonders.

from The Art of Poetry, Jorge Luis Borges

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 grahamd at ripon.edu  Wed Feb  6 11:43:36 2008
From: grahamd at ripon.edu (David Graham)
Date: Wed, 6 Feb 2008 10:43:36 -0600
Subject: [New-Poetry] Sounding my barbaric AWP
Message-ID: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>

I don't blog, so you all must suffer.

Notes on last weekend's Association of Writers & Writing Programs  
(AWP) conference in midtown Manhattan.   Skip the following if you're  
allergic to gossip and academic gatherings.

The omnipresent buzz was, of course, about the sheer size of this  
year's conference.  7,500 attendees, they say, and it seemed like an  
under-estimate, especially if you were standing in line for coffee or  
an elevator.  Two main hotels for all the events, so there was much  
shuttling back and forth.  The book fair, which in times past was a  
fairly reliable place to meet all your old pals just by hanging  
around for an hour, was too vast and scattered for this:  there were  
three huge ballrooms full of books, on three separate floors.

What an amazing feast for the literary book lover, even so.  Every  
little press and university press or journal you've ever heard of, it  
seemed, and hundreds you never have.  It takes nerves of steel not to  
walk out with a heavy bag of new titles.  I do not have nerves of steel.

Another aspect of the conference's size was that they ran double  
featured readings in the evening, for the first time in my  
experience.  (I missed the last two years.)  For example, you had to  
choose one evening between hearing Rae Armantraut & Mark Strand, or  
else Susan Cheever & Sue Miller.   They also were militant about  
checking people's registration badges:  no more sneaking in for a  
free taste.

I've never seen as much star power at any previous AWPs.  I mean,  
just on the poetry side of the aisle, the list of laureates alone was  
impressive:  Billy Collins, Mark Strand, Charles Simic, and Robert  
Pinsky were all on hand, along with quite a few other big splashes in  
the poetry pond:  John Ashbery, Sharon Olds, Yusef Komunyakaa, Robert  
Bly, James Tate, Russell Edson, Gerald Stern, Alicia Ostriker, Marvin  
Bell, Sonia Sanchez, Patricia Smith, Richard Howard, Stanley Plumly,  
Louis Simpson, Mark Doty, Martin Espada, Jorie Graham, Li-Young Lee,  
Edward Hirsch, C.D. Wright, Edward Fields, Thomas Lux, Stephen Dunn,  
Joyce Carol Oates (well, she writes some poetry), C. K. Williams, and  
Quincy Troupe, just to list a few.

No-shows (both with broken bones, interestingly) included Louise  
Gluck and Albert Goldbarth.  My guess is that Goldbarth tried to lift  
a pile of his own books, and it snapped his old bones.

I only saw a few of those listed above, as usual at such  
conferences.  I spent much of my time schmoozing with friends,  
trolling the book fair, and in this case checking out the Museum of  
Modern Art, only a block away from the droning of panelists.   
Excellent show of Lucian Freud etchings, by the way.

Interesting to be at a literary event where someone like Collins was  
*not* the featured attraction.  He just ambled around from session to  
session and around the book fair like a Regular Person.  I shook his  
hand and we had a tiny pleasant chat after the Ultra-Talk panel.  And  
his reading was not one of the big nightly features, either.

Highlights:  seeing Russell Edson about three decades after the last  
reading of his I caught, and finding him much the same, happily.  A  
bit stooped and halting, but creatively the same.  The session was a  
tribute to Edson, with his reading preceded by tributes from Robert  
Bly, Charles Simic, and James Tate.  Strange to see that collection  
of geezers on stage and realize that Tate, at age 65, was the  
youngster.  Edson is 73, Simic turns 70 this year, and Bly's 82.  I'd  
not seen Tate in a number of years, and his health seems very  
precarious.  Walks with a cane now.  Very sad to see.

Tate had his own big tribute, with a reading of new work (for which  
he sat down) followed by a Q & A, at which he essentially deflected  
all questions.

Another highlight for me was a panel on religion & poetry, featuring  
talks by Marianne Boruch, Robert Thomas, Greg Rappleye, Laura  
Kasischke, and Roy Jacobstein, all excellent, on time, and well  
prepared--not always the case at AWP.  I had to leave during the Q &  
A, but I'm told some born-agains provided some heated questioning  
afterward to the panelists, some of whom had announced themselves as  
atheists.

Heard Alice Friman read for the first time, and if you ever get a  
chance, go see her.

My favorite session was no doubt the Ultra-Talk panel, with David  
Kirby, Barbara Hamby, Mark Halliday, and Rodney Jones.  One of the  
liveliest in terms of questions and discussion, too.

My greatest disappointment was not hearing what Goldbarth might have  
had to say about Marianne Moore, in a tribute to MM that his  
fractured bones prevented him from attending.  Moore is another Ultra- 
Talk precursor, it seems to me, as Goldbarth is one of our best  
current talkers, ultra- or otherwise.  It was a very interesting  
session, even so, with particularly strong remarks, I thought, from  
Jeanne Marie Beaumont.

Among my too-numerous book purchases was Jason Bredle's *Standing in  
Line for the Beast* (New Issues Press, 2007), which I read on the  
plane home.  If you like Ultra-Talkers, he's a very worthy new  
voice.  And New Issues impressed me greatly with its list, I must say.

I also highly recommend Alice Friman's *Book of the Rotten Daughter*,  
from BkMk Press (2006) and Carol Potter's *Otherwise Obedient*, just  
out from Red Hen Press, another highly impressive small press.

Red Hen's also just published an anthology that is in some ways  
unique.  It's called *Letters to the World*, and consists of poems by  
subscribers to the Wom-Po Listserv.  It's a long and fascinatingly  
complex story, told in the book itself, but in a nutshell--the  
anthology is a collaborative venture arising from the Wom-Po  
membership, which went from being a notion to a blog to an online  
anthology to a book entirely without a "leader", all with volunteer  
labor and an endless stream of on-list talk about methods, goals,  
standards, procedures, etc.  An all-email book, start to finish, with  
input from (if I remember rightly) five continents.  It's truly  
amazing that the book ever appeared, and it's a beauty.   In my  
possibly biased opinion--I wound up as the sole male contributor.

For those who like to track such things, since there was no editorial  
selector of works (anyone who wished could contribute one poem), it's  
among the most eclectic anthologies out there, aesthetically.

AWP is really the blind man's elephant these days, so I'd love to  
hear others' reports.


========================================
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 millb at aol.com  Wed Feb  6 13:22:28 2008
From: millb at aol.com (millb at aol.com)
Date: Wed, 06 Feb 2008 13:22:28 -0500
Subject: [New-Poetry] Sounding my barbaric AWP
In-Reply-To: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>
References: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>
Message-ID: <8CA37045D2473A6-DD4-10A3@webmail-nc21.sysops.aol.com>


Don?t have a blog either.

?

In my opinion, the sheer size of AWP was a fault. In years past what charmed me most was the opportunity to greet friends and acquaintances, some folks like Frank Gaspar or Mark Cox I know only from annual nods at AWP! ??

?

This time, whether it was a reflection on my being out of the loop, or whether it was the size of the conference, I did not have any accidental meetings.? In other cities, while having a martini at the bar, I would run into an editor I had been corresponding with, or I would bump into a fellow contributor of an anthology.? Happy accidents.? Smaller conferences provided for more down time, more interaction and more time to?settle and develop friendships.

?

This year, not so much.? 

?

Also, the book fair: it had all the characteristics of a trade show: grab a free pen, buy the one book you were looking for and scram from the booth. No time or space for discussion or even to pause and linger.

?

The choices David G mentioned.? Hard to decide what to see and what to miss.? With four or five readings and panels happening concurrently, it was hard to choose.

?

I was surprised by the lack of attendance at excellent events: Edward Fields and Martin Amis read to rooms 2/3rds empty.? Too many choices divided audiences.? It was a shame.

?

In years past, with one event or two, I might have been persuaded into discovering a new voice or someone I would not have selected.? I think, honestly, audiences flocked to events at the Hilton, avoiding the ?walk? to the Sheraton (which was also a shame).? I recall walking a many blocks at Albany or, was it Kansas City in the rain.



Millicent?

?



-----Original Message-----
From: David Graham <grahamd at ripon.edu>
To: NewPoetry &amp; Views <new-poetry at wiz.cath.vt.edu>
Sent: Wed, 6 Feb 2008 10:43 am
Subject: [New-Poetry] Sounding my barbaric AWP


I don't blog, so you all must suffer.



Notes on last weekend's Association of Writers & Writing Programs (AWP) conference in midtown Manhattan. ? Skip the following if you're allergic to gossip and academic gatherings. ?




The omnipresent buzz was, of course, about the sheer size of this year's conference. ?7,500 attendees, they say, and it seemed like an under-estimate, especially if you were standing in line for coffee or an elevator. ?Two main hotels for all the events, so there was much shuttling back and forth. ?The book fair, which in times past was a fairly reliable place to meet all your old pals just by hanging around for an hour, was too vast and scattered for this: ?there were three huge ballrooms full of books, on three separate floors. ?




What an amazing feast for the literary book lover, even so. ?Every little press and university press or journal you've ever heard of, it seemed, and hundreds you never have. ?It takes nerves of steel not to walk out with a heavy bag of new titles. ?I do not have nerves of steel. ?




Another aspect of the conference's size was that they ran double featured readings in the evening, for the first time in my experience. ?(I missed the last two years.) ?For example, you had to choose one evening between hearing Rae Armantraut & Mark Strand, or else Susan Cheever & Sue Miller. ? They also were militant about checking people's registration badges: ?no more sneaking in for a free taste.




I've never seen as much star power at any previous AWPs. ?I mean, just on the poetry side of the aisle, the list of laureates alone was impressive: ?Billy Collins, Mark Strand, Charles Simic, and Robert Pinsky were all on hand, along with quite a few other big splashes in the poetry pond: ?John Ashbery, Sharon Olds, Yusef Komunyakaa, Robert Bly, James Tate, Russell Edson, Gerald Stern, Alicia Ostriker, Marvin Bell, Sonia Sanchez, Patricia Smith, Richard Howard, Stanley Plumly, Louis Simpson, Mark Doty, Martin Espada, Jorie Graham, Li-Young Lee, Edward Hirsch, C.D. Wright, Edward Fields, Thomas Lux, Stephen Dunn, Joyce Carol Oates (well, she writes some poetry), C. K. Williams, and Quincy Troupe, just to list a few. ?




No-shows (both with broken bones, interestingly) included Louise Gluck and Albert Goldbarth. ?My guess is that Goldbarth tried to lift a pile of his own books, and it snapped his old bones. ?




I only saw a few of those listed above, as usual at such conferences. ?I spent much of my time schmoozing with friends, trolling the book fair, and in this case checking out the Museum of Modern Art, only a block away from the droning of panelists. ?Excellent show of Lucian Freud etchings, by the way. ?




Interesting to be at a literary event where someone like Collins was *not* the featured attraction. ?He just ambled around from session to session and around the book fair like a Regular Person. ?I shook his hand and we had a tiny pleasant chat after the Ultra-Talk panel. ?And his reading was not one of the big nightly features, either. ?




Highlights: ?seeing Russell Edson about three decades after the last reading of his I caught, and finding him much the same, happily. ?A bit stooped and halting, but creatively the same. ?The session was a tribute to Edson, with his reading preceded by tributes from Robert Bly, Charles Simic, and James Tate. ?Strange to see that collection of geezers on stage and realize that Tate, at age 65, was the youngster. ?Edson is 73, Simic turns 70 this year, and Bly's 82. ?I'd not seen Tate in a number of years, and his health seems very precarious. ?Walks with a cane now. ?Very sad to see. ?




Tate had his own big tribute, with a reading of new work (for which he sat down) followed by a Q & A, at which he essentially deflected all questions. ?




Another highlight for me was a panel on religion & poetry, featuring talks by Marianne Boruch, Robert Thomas, Greg Rappleye, Laura Kasischke, and Roy Jacobstein, all excellent, on time, and well prepared--not always the case at AWP. ?I had to leave during the Q & A, but I'm told some born-agains provided some heated questioning afterward to the panelists, some of whom had announced themselves as atheists. ?




Heard Alice Friman read for the first time, and if you ever get a chance, go see her. ?




My favorite session was no doubt the Ultra-Talk panel, with David Kirby, Barbara Hamby, Mark Halliday, and Rodney Jones. ?One of the liveliest in terms of questions and discussion, too. ?




My greatest disappointment was not hearing what Goldbarth might have had to say about Marianne Moore, in a tribute to MM that his fractured bones prevented him from attending. ?Moore is another Ultra-Talk precursor, it seems to me, as Goldbarth is one of our best current talkers, ultra- or otherwise. ?It was a very interesting session, even so, with particularly strong remarks, I thought, from Jeanne Marie Beaumont. ?




Among my too-numerous book purchases was Jason Bredle's *Standing in Line for the Beast* (New Issues Press, 2007), which I read on the plane home. ?If you like Ultra-Talkers, he's a very worthy new voice. ?And New Issues impressed me greatly with its list, I must say. ?




I also highly recommend Alice Friman's *Book of the Rotten Daughter*, from BkMk Press (2006) and Carol Potter's *Otherwise Obedient*, just out from Red Hen Press, another highly impressive small press. ?




Red Hen's also just published an anthology that is in some ways unique. ?It's called *Letters to the World*, and consists of poems by subscribers to the Wom-Po Listserv. ?It's a long and fascinatingly complex story, told in the book itself, but in a nutshell--the anthology is a collaborative venture arising from the Wom-Po membership, which went from being a notion to a blog to an online anthology to a book entirely without a "leader", all with volunteer labor and an endless stream of on-list talk about methods, goals, standards, procedures, etc. ?An all-email book, start to finish, with input from (if I remember rightly) five continents. ?It's truly amazing that the book ever appeared, and it's a beauty. ? In my possibly biased opinion--I wound up as the sole male contributor. ?




For those who like to track such things, since there was no editorial selector of works (anyone who wished could contribute one poem), it's among the most eclectic anthologies out there, aesthetically. ?




AWP is really the blind man's elephant these days, so I'd love to hear others' reports. ?









========================================

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

==========================================







= 


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


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From AlMaginnes at aol.com  Wed Feb  6 14:52:26 2008
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Wed, 6 Feb 2008 14:52:26 EST
Subject: [New-Poetry] Sounding my barbaric AWP
Message-ID: <bc9.1fa37650.34db69fa@aol.com>

I remember that Albany conference. One of the worst ever, logistically  
speaking. Hard to imagine the AWP without Goldbarth. When he mildly dissed me in  
an elevator last year in Atlanta, I kind of felt like I'd earned my AWP  wings.



**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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From grahamd at ripon.edu  Wed Feb  6 15:07:42 2008
From: grahamd at ripon.edu (David Graham)
Date: Wed, 6 Feb 2008 14:07:42 -0600
Subject: [New-Poetry] Sounding my barbaric AWP
In-Reply-To: <bc9.1fa37650.34db69fa@aol.com>
References: <bc9.1fa37650.34db69fa@aol.com>
Message-ID: <5E5A8F39-DE57-4357-8C9C-1B5FDB039358@ripon.edu>



On Feb 6, 2008, at 1:52 PM, AlMaginnes at aol.com wrote:
> I remember that Albany conference. One of the worst ever,  
> logistically speaking. Hard to imagine the AWP without Goldbarth.  
> When he mildly dissed me in an elevator last year in Atlanta, I  
> kind of felt like I'd earned my AWP wings.
> ============

Oooh!   Come on, dish!  You know Albert doesn't read email or use the  
internet in any case. . . .




========================================
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 halvard at earthlink.net  Wed Feb  6 15:50:58 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Wed, 6 Feb 2008 14:50:58 -0600
Subject: [New-Poetry] Sounding my barbaric AWP
In-Reply-To: <8CA37045D2473A6-DD4-10A3@webmail-nc21.sysops.aol.com>
References: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>
	<8CA37045D2473A6-DD4-10A3@webmail-nc21.sysops.aol.com>
Message-ID: <2AD1359B-E560-478B-AC56-7BD085E8B095@earthlink.net>

That's Edward Field, btw, now that I've seen the name
wrong twice here.


"How beautiful it is to do nothing,
  and then rest afterward."
                      --Spanish proverb

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 Feb 6, 2008, at 12:22 PM, millb at aol.com wrote:

> Don?t have a blog either.
>
> In my opinion, the sheer size of AWP was a fault. In years past what  
> charmed me most was the opportunity to greet friends and  
> acquaintances, some folks like Frank Gaspar or Mark Cox I know only  
> from annual nods at AWP!
>
> This time, whether it was a reflection on my being out of the loop,  
> or whether it was the size of the conference, I did not have any  
> accidental meetings.  In other cities, while having a martini at the  
> bar, I would run into an editor I had been corresponding with, or I  
> would bump into a fellow contributor of an anthology.  Happy  
> accidents.  Smaller conferences provided for more down time, more  
> interaction and more time to settle and develop friendships.
>
> This year, not so much.
>
> Also, the book fair: it had all the characteristics of a trade show:  
> grab a free pen, buy the one book you were looking for and scram  
> from the booth. No time or space for discussion or even to pause and  
> linger.
>
> The choices David G mentioned.  Hard to decide what to see and what  
> to miss.  With four or five readings and panels happening  
> concurrently, it was hard to choose.
>
> I was surprised by the lack of attendance at excellent events:  
> Edward Fields and Martin Amis read to rooms 2/3rds empty.  Too many  
> choices divided audiences.  It was a shame.
>
> In years past, with one event or two, I might have been persuaded  
> into discovering a new voice or someone I would not have selected.   
> I think, honestly, audiences flocked to events at the Hilton,  
> avoiding the ?walk? to the Sheraton (which was also a shame).  I  
> recall walking a many blocks at Albany or, was it Kansas City in the  
> rain.
>
> Millicent
>
>
>
>
> -----Original Message-----
> From: David Graham <grahamd at ripon.edu>
> To: NewPoetry &amp; Views <new-poetry at wiz.cath.vt.edu>
> Sent: Wed, 6 Feb 2008 10:43 am
> Subject: [New-Poetry] Sounding my barbaric AWP
>
> I don't blog, so you all must suffer.
>
> Notes on last weekend's Association of Writers & Writing Programs  
> (AWP) conference in midtown Manhattan.   Skip the following if  
> you're allergic to gossip and academic gatherings.
>
> The omnipresent buzz was, of course, about the sheer size of this  
> year's conference.  7,500 attendees, they say, and it seemed like an  
> under-estimate, especially if you were standing in line for coffee  
> or an elevator.  Two main hotels for all the events, so there was  
> much shuttling back and forth.  The book fair, which in times past  
> was a fairly reliable place to meet all your old pals just by  
> hanging around for an hour, was too vast and scattered for this:   
> there were three huge ballrooms full of books, on three separate  
> floors.
>
> What an amazing feast for the literary book lover, even so.  Every  
> little press and university press or journal you've ever heard of,  
> it seemed, and hundreds you never have.  It takes nerves of steel  
> not to walk out with a heavy bag of new titles.  I do not have  
> nerves of steel.
>
> Another aspect of the conference's size was that they ran double  
> featured readings in the evening, for the first time in my  
> experience.  (I missed the last two years.)  For example, you had to  
> choose one evening between hearing Rae Armantraut & Mark Strand, or  
> else Susan Cheever & Sue Miller.   They also were militant about  
> checking people's registration badges:  no more sneaking in for a  
> free taste.
>
> I've never seen as much star power at any previous AWPs.  I mean,  
> just on the poetry side of the aisle, the list of laureates alone  
> was impressive:  Billy Collins, Mark Strand, Charles Simic, and  
> Robert Pinsky were all on hand, along with quite a few other big  
> splashes in the poetry pond:  John Ashbery, Sharon Olds, Yusef  
> Komunyakaa, Robert Bly, James Tate, Russell Edson, Gerald Stern,  
> Alicia Ostriker, Marvin Bell, Sonia Sanchez, Patricia Smith, Richard  
> Howard, Stanley Plumly, Louis Simpson, Mark Doty, Martin Espada,  
> Jorie Graham, Li-Young Lee, Edward Hirsch, C.D. Wright, Edward  
> Fields, Thomas Lux, Stephen Dunn, Joyce Carol Oates (well, she  
> writes some poetry), C. K. Williams, and Quincy Troupe, just to list  
> a few.
>
> No-shows (both with broken bones, interestingly) included Louise  
> Gluck and Albert Goldbarth.  My guess is that Goldbarth tried to  
> lift a pile of his own books, and it snapped his old bones.
>
> I only saw a few of those listed above, as usual at such  
> conferences.  I spent much of my time schmoozing with friends,  
> trolling the book fair, and in this case checking out the Museum of  
> Modern Art, only a block away from the droning of panelists.   
> Excellent show of Lucian Freud etchings, by the way.
>
> Interesting to be at a literary event where someone like Collins was  
> *not* the featured attraction.  He just ambled around from session  
> to session and around the book fair like a Regular Person.  I shook  
> his hand and we had a tiny pleasant chat after the Ultra-Talk  
> panel.  And his reading was not one of the big nightly features,  
> either.
>
> Highlights:  seeing Russell Edson about three decades after the last  
> reading of his I caught, and finding him much the same, happily.  A  
> bit stooped and halting, but creatively the same.  The session was a  
> tribute to Edson, with his reading preceded by tributes from Robert  
> Bly, Charles Simic, and James Tate.  Strange to see that collection  
> of geezers on stage and realize that Tate, at age 65, was the  
> youngster.  Edson is 73, Simic turns 70 this year, and Bly's 82.   
> I'd not seen Tate in a number of years, and his health seems very  
> precarious.  Walks with a cane now.  Very sad to see.
>
> Tate had his own big tribute, with a reading of new work (for which  
> he sat down) followed by a Q & A, at which he essentially deflected  
> all questions.
>
> Another highlight for me was a panel on religion & poetry, featuring  
> talks by Marianne Boruch, Robert Thomas, Greg Rappleye, Laura  
> Kasischke, and Roy Jacobstein, all excellent, on time, and well  
> prepared--not always the case at AWP.  I had to leave during the Q &  
> A, but I'm told some born-agains provided some heated questioning  
> afterward to the panelists, some of whom had announced themselves as  
> atheists.
>
> Heard Alice Friman read for the first time, and if you ever get a  
> chance, go see her.
>
> My favorite session was no doubt the Ultra-Talk panel, with David  
> Kirby, Barbara Hamby, Mark Halliday, and Rodney Jones.  One of the  
> liveliest in terms of questions and discussion, too.
>
> My greatest disappointment was not hearing what Goldbarth might have  
> had to say about Marianne Moore, in a tribute to MM that his  
> fractured bones prevented him from attending.  Moore is another  
> Ultra-Talk precursor, it seems to me, as Goldbarth is one of our  
> best current talkers, ultra- or otherwise.  It was a very  
> interesting session, even so, with particularly strong remarks, I  
> thought, from Jeanne Marie Beaumont.
>
> Among my too-numerous book purchases was Jason Bredle's *Standing in  
> Line for the Beast* (New Issues Press, 2007), which I read on the  
> plane home.  If you like Ultra-Talkers, he's a very worthy new  
> voice.  And New Issues impressed me greatly with its list, I must say.
>
> I also highly recommend Alice Friman's *Book of the Rotten  
> Daughter*, from BkMk Press (2006) and Carol Potter's *Otherwise  
> Obedient*, just out from Red Hen Press, another highly impressive  
> small press.
>
> Red Hen's also just published an anthology that is in some ways  
> unique.  It's called *Letters to the World*, and consists of poems  
> by subscribers to the Wom-Po Listserv.  It's a long and  
> fascinatingly complex story, told in the book itself, but in a  
> nutshell--the anthology is a collaborative venture arising from the  
> Wom-Po membership, which went from being a notion to a blog to an  
> online anthology to a book entirely without a "leader", all with  
> volunteer labor and an endless stream of on-list talk about methods,  
> goals, standards, procedures, etc.  An all-email book, start to  
> finish, with input from (if I remember rightly) five continents.   
> It's truly amazing that the book ever appeared, and it's a beauty.    
> In my possibly biased opinion--I wound up as the sole male  
> contributor.
>
> For those who like to track such things, since there was no  
> editorial selector of works (anyone who wished could contribute one  
> poem), it's among the most eclectic anthologies out there,  
> aesthetically.
>
> AWP is really the blind man's elephant these days, so I'd love to  
> hear others' reports.
>
>
> ========================================
> 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
> More new features than ever. Check out the new 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 millb at aol.com  Wed Feb  6 15:54:26 2008
From: millb at aol.com (millb at aol.com)
Date: Wed, 06 Feb 2008 15:54:26 -0500
Subject: [New-Poetry] Sounding my barbaric AWP
In-Reply-To: <2AD1359B-E560-478B-AC56-7BD085E8B095@earthlink.net>
References: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>	<8CA37045D2473A6-DD4-10A3@webmail-nc21.sysops.aol.com>
	<2AD1359B-E560-478B-AC56-7BD085E8B095@earthlink.net>
Message-ID: <8CA371997F28F50-464-4273@webmail-de01.sysops.aol.com>

Sorry, Edward Field! Mea culpa.? Got his latest book and everything. . .


-----Original Message-----
From: Halvard Johnson <halvard at earthlink.net>
Bcc: millb at aol.com
Sent: Wed, 6 Feb 2008 2:50 pm
Subject: Re: [New-Poetry] Sounding my barbaric AWP


That's Edward Field, btw, now that I've seen the name
wrong twice here.








"How beautiful it is to do nothing,

?and then rest afterward."

? ?? ?? ?? ?? ?? ?? ?--Spanish proverb




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 Feb 6, 2008, at 12:22 PM, millb at aol.com wrote:



Don?t have a blog either.

?

In my opinion, the sheer size of AWP was a fault. In years past what charmed me most was the opportunity to greet friends and acquaintances, some folks like Frank Gaspar or Mark Cox I know only from annual nods at AWP! ??

?

This time, whether it was a reflection on my being out of the loop, or whether it was the size of the conference, I did not have any accidental meetings.? In other cities, while having a martini at the bar, I would run into an editor I had been corresponding with, or I would bump into a fellow contributor of an anthology.? Happy accidents.? Smaller conferences provided for more down time, more interaction and more time to?settle and develop friendships.

?

This year, not so much.? 

?

Also, the book fair: it had all the characteristics of a trade show: grab a free pen, buy the one book you were looking for and scram from the booth. No time or space for discussion or even to pause and linger.

?

The choices David G mentioned.? Hard to decide what to see and what to miss.? With four or five readings and panels happening concurrently, it was hard to choose.

?

I was surprised by the lack of attendance at excellent events: Edward Fields and Martin Amis read to rooms 2/3rds empty.? Too many choices divided audiences.? It was a shame.

?

In years past, with one event or two, I might have been persuaded into discovering a new voice or someone I would not have selected.? I think, honestly, audiences flocked to events at the Hilton, avoiding the ?walk? to the Sheraton (which was also a shame).? I recall walking a many blocks at Albany or, was it Kansas City in the rain.



Millicent?

?



-----Original Message-----
From: David Graham <grahamd at ripon.edu>
To: NewPoetry &amp; Views <new-poetry at wiz.cath.vt.edu>
Sent: Wed, 6 Feb 2008 10:43 am
Subject: [New-Poetry] Sounding my barbaric AWP


I don't blog, so you all must suffer. 



Notes on last weekend's Association of Writers & Writing Programs (AWP) conference in midtown Manhattan. ? Skip the following if you're allergic to gossip and academic gatherings. ?




The omnipresent buzz was, of course, about the sheer size of this year's conference. ?7,500 attendees, they say, and it seemed like an under-estimate, especially if you were standing in line for coffee or an elevator. ?Two main hotels for all the events, so there was much shuttling back and forth. ?The book fair, which in times past was a fairly reliable place to meet all your old pals just by hanging around for an hour, was too vast and scattered for this: ?there were three huge ballrooms full of books, on three separate floors. ?




What an amazing feast for the literary book lover, even so. ?Every little press and university press or journal you've ever heard of, it seemed, and hundreds you never have. ?It takes nerves of steel not to walk out with a heavy bag of new titles. ?I do not have nerves of steel. ?




Another aspect of the conference's size was that they ran double featured readings in the evening, for the first time in my experience. ?(I missed the last two years.) ?For example, you had to choose one evening between hearing Rae Armantraut & Mark Strand, or else Susan Cheever & Sue Miller. ? They also were militant about checking people's registration badges: ?no more sneaking in for a free taste.




I've never seen as much star power at any previous AWPs. ?I mean, just on the poetry side of the aisle, the list of laureates alone was impressive: ?Billy Collins, Mark Strand, Charles Simic, and Robert Pinsky were all on hand, along with quite a few other big splashes in the poetry pond: ?John Ashbery, Sharon Olds, Yusef Komunyakaa, Robert Bly, James Tate, Russell Edson, Gerald Stern, Alicia Ostriker, Marvin Bell, Sonia Sanchez, Patricia Smith, Richard Howard, Stanley Plumly, Louis Simpson, Mark Doty, Martin Espada, Jorie Graham, Li-Young Lee, Edward Hirsch, C.D. Wright, Edward Fields, Thomas Lux, Stephen Dunn, Joyce Carol Oates (well, she writes some poetry), C. K. Williams, and Quincy Troupe, just to list a few. ?




No-shows (both with broken bones, interestingly) included Louise Gluck and Albert Goldbarth. ?My guess is that Goldbarth tried to lift a pile of his own books, and it snapped his old bones. ?




I only saw a few of those listed above, as usual at such conferences. ?I spent much of my time schmoozing with friends, trolling the book fair, and in this case checking out the Museum of Modern Art, only a block away from the droning of panelists. ?Excellent show of Lucian Freud etchings, by the way. ?




Interesting to be at a literary event where someone like Collins was *not* the featured attraction. ?He just ambled around from session to session and around the book fair like a Regular Person. ?I shook his hand and we had a tiny pleasant chat after the Ultra-Talk panel. ?And his reading was not one of the big nightly features, either. ?




Highlights: ?seeing Russell Edson about three decades after the last reading of his I caught, and finding him much the same, happily. ?A bit stooped and halting, but creatively the same. ?The session was a tribute to Edson, with his reading preceded by tributes from Robert Bly, Charles Simic, and James Tate. ?Strange to see that collection of geezers on stage and realize that Tate, at age 65, was the youngster. ?Edson is 73, Simic turns 70 this year, and Bly's 82. ?I'd not seen Tate in a number of years, and his health seems very precarious. ?Walks with a cane now. ?Very sad to see. ?




Tate had his own big tribute, with a reading of new work (for which he sat down) followed by a Q & A, at which he essentially deflected all questions. ?




Another highlight for me was a panel on religion & poetry, featuring talks by Marianne Boruch, Robert Thomas, Greg Rappleye, Laura Kasischke, and Roy Jacobstein, all excellent, on time, and well prepared--not always the case at AWP. ?I had to leave during the Q & A, but I'm told some born-agains provided some heated questioning afterward to the panelists, some of whom had announced themselves as atheists. ?




Heard Alice Friman read for the first time, and if you ever get a chance, go see her. ?




My favorite session was no doubt the Ultra-Talk panel, with David Kirby, Barbara Hamby, Mark Halliday, and Rodney Jones. ?One of the liveliest in terms of questions and discussion, too. ?




My greatest disappointment was not hearing what Goldbarth might have had to say about Marianne Moore, in a tribute to MM that his fractured bones prevented him from attending. ?Moore is another Ultra-Talk precursor, it seems to me, as Goldbarth is one of our best current talkers, ultra- or otherwise. ?It was a very interesting session, even so, with particularly strong remarks, I thought, from Jeanne Marie Beaumont. ?




Among my too-numerous book purchases was Jason Bredle's *Standing in Line for the Beast* (New Issues Press, 2007), which I read on the plane home. ?If you like Ultra-Talkers, he's a very worthy new voice. ?And New Issues impressed me greatly with its list, I must say. ?




I also highly recommend Alice Friman's *Book of the Rotten Daughter*, from BkMk Press (2006) and Carol Potter's *Otherwise Obedient*, just out from Red Hen Press, another highly impressive small press. ?




Red Hen's also just published an anthology that is in some ways unique. ?It's called *Letters to the World*, and consists of poems by subscribers to the Wom-Po Listserv. ?It's a long and fascinatingly complex story, told in the book itself, but in a nutshell--the anthology is a collaborative venture arising from the Wom-Po membership, which went from being a notion to a blog to an online anthology to a book entirely without a "leader", all with volunteer labor and an endless stream of on-list talk about methods, goals, standards, procedures, etc. ?An all-email book, start to finish, with input from (if I remember rightly) five continents. ?It's truly amazing that the book ever appeared, and it's a beauty. ? In my possibly biased opinion--I wound up as the sole male contributor. ?




For those who like to track such things, since there was no editorial selector of works (anyone who wished could contribute one poem), it's among the most eclectic anthologies out there, aesthetically. ?




AWP is really the blind man's elephant these days, so I'd love to hear others' reports. ?









========================================

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 jfq at myuw.net  Wed Feb  6 16:07:00 2008
From: jfq at myuw.net (Jason Quackenbush)
Date: Wed, 6 Feb 2008 13:07:00 -0800
Subject: [New-Poetry] Sounding my barbaric AWP
In-Reply-To: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>
References: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>
Message-ID: <6186CDF8-2CBA-48DD-9E96-D285004EAFB9@myuw.net>

I've sometimes wondered if some of my poems could be called ultra- 
talk poems. then again, i also sometimes wonder whether i should  
really be medicating my attention deficit disorder. Since i don't go  
to AWP, would you mind expanding a bit on what was discussed during  
that pane for my benefitl?
Thnks for the rundown,
Jason Quackenbush

On Feb 6, 2008, at 8:43 AM, David Graham wrote:

> I don't blog, so you all must suffer.
>
> Notes on last weekend's Association of Writers & Writing Programs  
> (AWP) conference in midtown Manhattan.   Skip the following if  
> you're allergic to gossip and academic gatherings.
>
> The omnipresent buzz was, of course, about the sheer size of this  
> year's conference.  7,500 attendees, they say, and it seemed like  
> an under-estimate, especially if you were standing in line for  
> coffee or an elevator.  Two main hotels for all the events, so  
> there was much shuttling back and forth.  The book fair, which in  
> times past was a fairly reliable place to meet all your old pals  
> just by hanging around for an hour, was too vast and scattered for  
> this:  there were three huge ballrooms full of books, on three  
> separate floors.
>
> What an amazing feast for the literary book lover, even so.  Every  
> little press and university press or journal you've ever heard of,  
> it seemed, and hundreds you never have.  It takes nerves of steel  
> not to walk out with a heavy bag of new titles.  I do not have  
> nerves of steel.
>
> Another aspect of the conference's size was that they ran double  
> featured readings in the evening, for the first time in my  
> experience.  (I missed the last two years.)  For example, you had  
> to choose one evening between hearing Rae Armantraut & Mark Strand,  
> or else Susan Cheever & Sue Miller.   They also were militant about  
> checking people's registration badges:  no more sneaking in for a  
> free taste.
>
> I've never seen as much star power at any previous AWPs.  I mean,  
> just on the poetry side of the aisle, the list of laureates alone  
> was impressive:  Billy Collins, Mark Strand, Charles Simic, and  
> Robert Pinsky were all on hand, along with quite a few other big  
> splashes in the poetry pond:  John Ashbery, Sharon Olds, Yusef  
> Komunyakaa, Robert Bly, James Tate, Russell Edson, Gerald Stern,  
> Alicia Ostriker, Marvin Bell, Sonia Sanchez, Patricia Smith,  
> Richard Howard, Stanley Plumly, Louis Simpson, Mark Doty, Martin  
> Espada, Jorie Graham, Li-Young Lee, Edward Hirsch, C.D. Wright,  
> Edward Fields, Thomas Lux, Stephen Dunn, Joyce Carol Oates (well,  
> she writes some poetry), C. K. Williams, and Quincy Troupe, just to  
> list a few.
>
> No-shows (both with broken bones, interestingly) included Louise  
> Gluck and Albert Goldbarth.  My guess is that Goldbarth tried to  
> lift a pile of his own books, and it snapped his old bones.
>
> I only saw a few of those listed above, as usual at such  
> conferences.  I spent much of my time schmoozing with friends,  
> trolling the book fair, and in this case checking out the Museum of  
> Modern Art, only a block away from the droning of panelists.   
> Excellent show of Lucian Freud etchings, by the way.
>
> Interesting to be at a literary event where someone like Collins  
> was *not* the featured attraction.  He just ambled around from  
> session to session and around the book fair like a Regular Person.   
> I shook his hand and we had a tiny pleasant chat after the Ultra- 
> Talk panel.  And his reading was not one of the big nightly  
> features, either.
>
> Highlights:  seeing Russell Edson about three decades after the  
> last reading of his I caught, and finding him much the same,  
> happily.  A bit stooped and halting, but creatively the same.  The  
> session was a tribute to Edson, with his reading preceded by  
> tributes from Robert Bly, Charles Simic, and James Tate.  Strange  
> to see that collection of geezers on stage and realize that Tate,  
> at age 65, was the youngster.  Edson is 73, Simic turns 70 this  
> year, and Bly's 82.  I'd not seen Tate in a number of years, and  
> his health seems very precarious.  Walks with a cane now.  Very sad  
> to see.
>
> Tate had his own big tribute, with a reading of new work (for which  
> he sat down) followed by a Q & A, at which he essentially deflected  
> all questions.
>
> Another highlight for me was a panel on religion & poetry,  
> featuring talks by Marianne Boruch, Robert Thomas, Greg Rappleye,  
> Laura Kasischke, and Roy Jacobstein, all excellent, on time, and  
> well prepared--not always the case at AWP.  I had to leave during  
> the Q & A, but I'm told some born-agains provided some heated  
> questioning afterward to the panelists, some of whom had announced  
> themselves as atheists.
>
> Heard Alice Friman read for the first time, and if you ever get a  
> chance, go see her.
>
> My favorite session was no doubt the Ultra-Talk panel, with David  
> Kirby, Barbara Hamby, Mark Halliday, and Rodney Jones.  One of the  
> liveliest in terms of questions and discussion, too.
>
> My greatest disappointment was not hearing what Goldbarth might  
> have had to say about Marianne Moore, in a tribute to MM that his  
> fractured bones prevented him from attending.  Moore is another  
> Ultra-Talk precursor, it seems to me, as Goldbarth is one of our  
> best current talkers, ultra- or otherwise.  It was a very  
> interesting session, even so, with particularly strong remarks, I  
> thought, from Jeanne Marie Beaumont.
>
> Among my too-numerous book purchases was Jason Bredle's *Standing  
> in Line for the Beast* (New Issues Press, 2007), which I read on  
> the plane home.  If you like Ultra-Talkers, he's a very worthy new  
> voice.  And New Issues impressed me greatly with its list, I must say.
>
> I also highly recommend Alice Friman's *Book of the Rotten  
> Daughter*, from BkMk Press (2006) and Carol Potter's *Otherwise  
> Obedient*, just out from Red Hen Press, another highly impressive  
> small press.
>
> Red Hen's also just published an anthology that is in some ways  
> unique.  It's called *Letters to the World*, and consists of poems  
> by subscribers to the Wom-Po Listserv.  It's a long and  
> fascinatingly complex story, told in the book itself, but in a  
> nutshell--the anthology is a collaborative venture arising from the  
> Wom-Po membership, which went from being a notion to a blog to an  
> online anthology to a book entirely without a "leader", all with  
> volunteer labor and an endless stream of on-list talk about  
> methods, goals, standards, procedures, etc.  An all-email book,  
> start to finish, with input from (if I remember rightly) five  
> continents.  It's truly amazing that the book ever appeared, and  
> it's a beauty.   In my possibly biased opinion--I wound up as the  
> sole male contributor.
>
> For those who like to track such things, since there was no  
> editorial selector of works (anyone who wished could contribute one  
> poem), it's among the most eclectic anthologies out there,  
> aesthetically.
>
> AWP is really the blind man's elephant these days, so I'd love to  
> hear others' reports.
>
>
> ========================================
> 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

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From grahamd at ripon.edu  Wed Feb  6 16:22:33 2008
From: grahamd at ripon.edu (David Graham)
Date: Wed, 6 Feb 2008 15:22:33 -0600
Subject: [New-Poetry] Re: Sounding my barbaric AWP
In-Reply-To: <6186CDF8-2CBA-48DD-9E96-D285004EAFB9@myuw.net>
References: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>
	<6186CDF8-2CBA-48DD-9E96-D285004EAFB9@myuw.net>
Message-ID: <0B1547A0-90CD-421F-AC88-950A2B4EE3C0@ripon.edu>

Jason, I've talked people's ears off before on ultra-talk, right on  
this very listserv, so before I deepen my sinning, I might suggest  
that you take a look at either the recent TriQuarterly issue on UT  
(#128), or else (I say, blushingly) my own quite readable essay on  
the topic, available free (free!) right here, at Ed Byrne's wonderful  
online mag, *Valparaiso Poetry Review*:

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

Beyond that, I'm always happy to talk further. . . .

========================================
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 Feb 6, 2008, at 3:07 PM, Jason Quackenbush wrote:

> I've sometimes wondered if some of my poems could be called ultra- 
> talk poems. then again, i also sometimes wonder whether i should  
> really be medicating my attention deficit disorder. Since i don't  
> go to AWP, would you mind expanding a bit on what was discussed  
> during that pane for my benefitl?
> Thnks for the rundown,
> Jason Quackenbush
>
> On Feb 6, 2008, at 8:43 AM, David Graham wrote:
>
>> I don't blog, so you all must suffer.
>>
>> Notes on last weekend's Association of Writers & Writing Programs  
>> (AWP) conference in midtown Manhattan.   Skip the following if  
>> you're allergic to gossip and academic gatherings.
>>
>> The omnipresent buzz was, of course, about the sheer size of this  
>> year's conference.  7,500 attendees, they say, and it seemed like  
>> an under-estimate, especially if you were standing in line for  
>> coffee or an elevator.  Two main hotels for all the events, so  
>> there was much shuttling back and forth.  The book fair, which in  
>> times past was a fairly reliable place to meet all your old pals  
>> just by hanging around for an hour, was too vast and scattered for  
>> this:  there were three huge ballrooms full of books, on three  
>> separate floors.
>>
>> What an amazing feast for the literary book lover, even so.  Every  
>> little press and university press or journal you've ever heard of,  
>> it seemed, and hundreds you never have.  It takes nerves of steel  
>> not to walk out with a heavy bag of new titles.  I do not have  
>> nerves of steel.
>>
>> Another aspect of the conference's size was that they ran double  
>> featured readings in the evening, for the first time in my  
>> experience.  (I missed the last two years.)  For example, you had  
>> to choose one evening between hearing Rae Armantraut & Mark  
>> Strand, or else Susan Cheever & Sue Miller.   They also were  
>> militant about checking people's registration badges:  no more  
>> sneaking in for a free taste.
>>
>> I've never seen as much star power at any previous AWPs.  I mean,  
>> just on the poetry side of the aisle, the list of laureates alone  
>> was impressive:  Billy Collins, Mark Strand, Charles Simic, and  
>> Robert Pinsky were all on hand, along with quite a few other big  
>> splashes in the poetry pond:  John Ashbery, Sharon Olds, Yusef  
>> Komunyakaa, Robert Bly, James Tate, Russell Edson, Gerald Stern,  
>> Alicia Ostriker, Marvin Bell, Sonia Sanchez, Patricia Smith,  
>> Richard Howard, Stanley Plumly, Louis Simpson, Mark Doty, Martin  
>> Espada, Jorie Graham, Li-Young Lee, Edward Hirsch, C.D. Wright,  
>> Edward Fields, Thomas Lux, Stephen Dunn, Joyce Carol Oates (well,  
>> she writes some poetry), C. K. Williams, and Quincy Troupe, just  
>> to list a few.
>>
>> No-shows (both with broken bones, interestingly) included Louise  
>> Gluck and Albert Goldbarth.  My guess is that Goldbarth tried to  
>> lift a pile of his own books, and it snapped his old bones.
>>
>> I only saw a few of those listed above, as usual at such  
>> conferences.  I spent much of my time schmoozing with friends,  
>> trolling the book fair, and in this case checking out the Museum  
>> of Modern Art, only a block away from the droning of panelists.   
>> Excellent show of Lucian Freud etchings, by the way.
>>
>> Interesting to be at a literary event where someone like Collins  
>> was *not* the featured attraction.  He just ambled around from  
>> session to session and around the book fair like a Regular  
>> Person.  I shook his hand and we had a tiny pleasant chat after  
>> the Ultra-Talk panel.  And his reading was not one of the big  
>> nightly features, either.
>>
>> Highlights:  seeing Russell Edson about three decades after the  
>> last reading of his I caught, and finding him much the same,  
>> happily.  A bit stooped and halting, but creatively the same.  The  
>> session was a tribute to Edson, with his reading preceded by  
>> tributes from Robert Bly, Charles Simic, and James Tate.  Strange  
>> to see that collection of geezers on stage and realize that Tate,  
>> at age 65, was the youngster.  Edson is 73, Simic turns 70 this  
>> year, and Bly's 82.  I'd not seen Tate in a number of years, and  
>> his health seems very precarious.  Walks with a cane now.  Very  
>> sad to see.
>>
>> Tate had his own big tribute, with a reading of new work (for  
>> which he sat down) followed by a Q & A, at which he essentially  
>> deflected all questions.
>>
>> Another highlight for me was a panel on religion & poetry,  
>> featuring talks by Marianne Boruch, Robert Thomas, Greg Rappleye,  
>> Laura Kasischke, and Roy Jacobstein, all excellent, on time, and  
>> well prepared--not always the case at AWP.  I had to leave during  
>> the Q & A, but I'm told some born-agains provided some heated  
>> questioning afterward to the panelists, some of whom had announced  
>> themselves as atheists.
>>
>> Heard Alice Friman read for the first time, and if you ever get a  
>> chance, go see her.
>>
>> My favorite session was no doubt the Ultra-Talk panel, with David  
>> Kirby, Barbara Hamby, Mark Halliday, and Rodney Jones.  One of the  
>> liveliest in terms of questions and discussion, too.
>>
>> My greatest disappointment was not hearing what Goldbarth might  
>> have had to say about Marianne Moore, in a tribute to MM that his  
>> fractured bones prevented him from attending.  Moore is another  
>> Ultra-Talk precursor, it seems to me, as Goldbarth is one of our  
>> best current talkers, ultra- or otherwise.  It was a very  
>> interesting session, even so, with particularly strong remarks, I  
>> thought, from Jeanne Marie Beaumont.
>>
>> Among my too-numerous book purchases was Jason Bredle's *Standing  
>> in Line for the Beast* (New Issues Press, 2007), which I read on  
>> the plane home.  If you like Ultra-Talkers, he's a very worthy new  
>> voice.  And New Issues impressed me greatly with its list, I must  
>> say.
>>
>> I also highly recommend Alice Friman's *Book of the Rotten  
>> Daughter*, from BkMk Press (2006) and Carol Potter's *Otherwise  
>> Obedient*, just out from Red Hen Press, another highly impressive  
>> small press.
>>
>> Red Hen's also just published an anthology that is in some ways  
>> unique.  It's called *Letters to the World*, and consists of poems  
>> by subscribers to the Wom-Po Listserv.  It's a long and  
>> fascinatingly complex story, told in the book itself, but in a  
>> nutshell--the anthology is a collaborative venture arising from  
>> the Wom-Po membership, which went from being a notion to a blog to  
>> an online anthology to a book entirely without a "leader", all  
>> with volunteer labor and an endless stream of on-list talk about  
>> methods, goals, standards, procedures, etc.  An all-email book,  
>> start to finish, with input from (if I remember rightly) five  
>> continents.  It's truly amazing that the book ever appeared, and  
>> it's a beauty.   In my possibly biased opinion--I wound up as the  
>> sole male contributor.
>>
>> For those who like to track such things, since there was no  
>> editorial selector of works (anyone who wished could contribute  
>> one poem), it's among the most eclectic anthologies out there,  
>> aesthetically.
>>
>> AWP is really the blind man's elephant these days, so I'd love to  
>> hear others' reports.
>>
>>
>> ========================================
>> 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
>
> _______________________________________________
> 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 AlMaginnes at aol.com  Wed Feb  6 16:52:08 2008
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Wed, 6 Feb 2008 16:52:08 EST
Subject: [New-Poetry] Re: Sounding my barbaric AWP
Message-ID: <d55.22fe4b6b.34db8608@aol.com>

 
In a message dated 2/6/2008 4:23:26 P.M. Eastern Standard Time,  
grahamd at ripon.edu writes:

Beyond  that, I'm always happy to talk further. . . .


Are you an ultra talker too, Dave? 



**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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From grahamd at ripon.edu  Wed Feb  6 16:58:45 2008
From: grahamd at ripon.edu (David Graham)
Date: Wed, 6 Feb 2008 15:58:45 -0600
Subject: [New-Poetry] Re: Sounding my barbaric AWP
In-Reply-To: <d55.22fe4b6b.34db8608@aol.com>
References: <d55.22fe4b6b.34db8608@aol.com>
Message-ID: <B98B810B-49B9-40D7-9175-A6C80F158E68@ripon.edu>

I guess I am an ultra-talker, at least in some poems.   I'm in the  
TriQuarterly issue, in any case, so I guess it's official.  Much of  
the AWP panel did wrestle with the definitional question, of course,  
and no one's foolish enough to attempt an airtight taxonomy or deny  
the many and deep roots of the phenomenon.

Mark Halliday in his talk made the shrewd choice of defining by  
negation, and his example was W. S. Merwin in his *Lice* phase:  the  
opposite of ultra-talk turns out to be a lyric like "For the  
Anniversary of My Death."  A poem of "holy hush," he called it, and  
contrasted it with a very funny rewrite he'd done, turning it into a  
proper ultra-talk poem.


========================================
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 Feb 6, 2008, at 3:52 PM, AlMaginnes at aol.com wrote:

> In a message dated 2/6/2008 4:23:26 P.M. Eastern Standard Time,  
> grahamd at ripon.edu writes:
> Beyond that, I'm always happy to talk further. . . .
> Are you an ultra talker too, Dave?
>

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From bobgrumman at nut-n-but.net  Wed Feb  6 17:53:49 2008
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Wed, 06 Feb 2008 17:53:49 -0500
Subject: [New-Poetry] Re: Sounding my barbaric AWP
In-Reply-To: <B98B810B-49B9-40D7-9175-A6C80F158E68@ripon.edu>
References: <d55.22fe4b6b.34db8608@aol.com>
	<B98B810B-49B9-40D7-9175-A6C80F158E68@ripon.edu>
Message-ID: <47AA3A7D.9010301@nut-n-but.net>



David Graham wrote:
> I guess I am an ultra-talker, at least in some poems.   I'm in the 
> TriQuarterly issue, in any case, so I guess it's official.  Much of 
> the AWP panel did wrestle with the definitional question, of course, 
> and no one's foolish enough to attempt an airtight taxonomy or deny 
> the many and deep roots of the phenomenon.  
>
> Mark Halliday in his talk made the shrewd choice of defining by 
> negation, and his example was W. S. Merwin in his *Lice* phase:  the 
> opposite of ultra-talk turns out to be a lyric like "For the 
> Anniversary of My Death."  A poem of "holy hush," he called it, and 
> contrasted it with a very funny rewrite he'd done, turning it into a 
> proper ultra-talk poem. 
>
Even when speaking only of solitextual (solely textual) poems, I should 
think haiku would be more opposite ultra-talk poems than what I guess 
the Halliday lyric to be.

--Bob G.



From jforjames at aol.com  Wed Feb  6 19:24:09 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 06 Feb 2008 19:24:09 -0500
Subject: [New-Poetry] Sounding my barbaric AWP
In-Reply-To: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>
References: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>
Message-ID: <8CA3736E465B7ED-9D4-10A0@Webmail-mg10.sim.aol.com>



? In my possibly biased opinion--I wound up as the sole male contributor. ?
And I you look pretty good in heels too, David.

Seriously, thanks for the notes on the AWP Conference. 
Souunds like it's time for 'Vegas, baby'. Many 'trade organizations' 
have this issue: outgrowing the capacity of some cities to handle 
their event. Not enough rooms, not enuf exhibit space, etc. 
Finnegan
________________________________________________________________________
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From jforjames at aol.com  Wed Feb  6 20:05:20 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 06 Feb 2008 20:05:20 -0500
Subject: [New-Poetry] Something About Mary
Message-ID: <8CA373CA51CFFFA-14F4-36AF@mblk-d22.sysops.aol.com>


http://seattlepi.nwsource.com/books/350095_oliver06.html

February 5, 2008 3:32 p.m. PT

Revered poet shows her witty side
By JOHN MARSHALL


She came, she talked, she conquered -- but not in the expected solemn nature way.

MARY OLIVER POETRY READING


Poet Mary Oliver displayed a sparkling wit and puckish charm before a reverential crowd Monday night for Seattle Arts & Lectures. The appearance by the 71-year-old writer from Massachusetts, arguably the country's most popular poet, had sparked the fastest sell-out in the 20-year history of the hallmark literary series. The response was so feverish that Oliver ticket buyers and sellers moved into the unlikely realm of Craigslist with prices as high as $100 per seat.



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From anny.ballardini at tin.it  Thu Feb  7 03:54:30 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 7 Feb 2008 09:54:30 +0100
Subject: [New-Poetry] Sounding my barbaric AWP
References: <1F7D3DD2-9E9F-443F-827F-C2EC1FD7A7E2@ripon.edu>
	<8CA3736E465B7ED-9D4-10A0@Webmail-mg10.sim.aol.com>
Message-ID: <008101c86967$0d594000$ced63152@ANNY>

Thanks to David for his enthusiasm. If you wish I am willing to read more!
  ----- Original Message ----- 
  From: jforjames at aol.com 
  To: new-poetry at wiz.cath.vt.edu 
  Sent: Thursday, February 07, 2008 1:24 AM
  Subject: Re: [New-Poetry] Sounding my barbaric AWP




      In my possibly biased opinion--I wound up as the sole male contributor.  
  And I you look pretty good in heels too, David.

  Seriously, thanks for the notes on the AWP Conference. 
  Souunds like it's time for 'Vegas, baby'. Many 'trade organizations' 
  have this issue: outgrowing the capacity of some cities to handle 
  their event. Not enough rooms, not enuf exhibit space, etc. 
  Finnegan

------------------------------------------------------------------------------
  More new features than ever. Check out the new 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 jorgensen_a at yahoo.com  Thu Feb  7 04:00:53 2008
From: jorgensen_a at yahoo.com (Alexander Jorgensen)
Date: Thu, 7 Feb 2008 01:00:53 -0800 (PST)
Subject: [New-Poetry] Vibrant Gray - Blue Issue
Message-ID: <694310.99058.qm@web54604.mail.re2.yahoo.com>

The Blue Issue of Vibrant Gray is now online! This issue features work by Richard Larson, Maggie Gerrity, Geraldine McGowan, Nita Noveno, Caroline Berger, Aaron Koppel, Alexander Jorgensen, J.D. Smith and Brent A. Fisk. 
  
 Also, be sure to follow the link on the webiste to our blog where we will putting up videos of our authors reading the work we have featured in the last two issues.  We will also be keeping you up to date with the projects the Vibrant Gray editors are working. In return, the editors of Vibrant Gray hope you will let us know what you think of our journal and what you would like to see in the future.
  
 Finally, we are hoping to put the next issue of Vibrant Gray online by April, so be sure to get your submissions in.
  
 Cheers,
 The Editors
 vibrantgray.com



--
Tennessee Williams: "A vacuum is a hell of a lot better than some of the stuff that nature replaces it with."
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From jorgensen_a at yahoo.com  Thu Feb  7 04:12:34 2008
From: jorgensen_a at yahoo.com (Alexander Jorgensen)
Date: Thu, 7 Feb 2008 01:12:34 -0800 (PST)
Subject: [New-Poetry] Vibrant Gray - Blue Issue
Message-ID: <288428.44311.qm@web54602.mail.re2.yahoo.com>

http://vibrantgray.com/current.html

 The Blue Issue of Vibrant Gray is now online! This issue features work by Richard Larson, Maggie Gerrity, Geraldine McGowan, Nita Noveno, Caroline Berger, Aaron Koppel, Alexander Jorgensen, J.D. Smith and Brent A. Fisk. 
  
 Also, be sure to follow the link on the webiste to our blog where we will putting up videos of our authors reading the work we have featured in the last two issues.  We will also be keeping you up to date with the projects the Vibrant Gray editors are working. In return, the editors of Vibrant Gray hope you will let us know what you think of our journal and what you would like to see in the future.
  
 Finally, we are hoping to put the next issue of Vibrant Gray online by April, so be sure to get your submissions in.
  
 Cheers,
 The Editors
 vibrantgray.com

 



--
Tennessee Williams: "A vacuum is a hell of a lot better than some of the stuff that nature replaces it with."
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From pmetres at jcu.edu  Thu Feb  7 06:48:39 2008
From: pmetres at jcu.edu (Philip Metres)
Date: Thu,  7 Feb 2008 06:48:39 -0500 (EST)
Subject: [New-Poetry] Re: New-Poetry Digest, Vol 39, Issue 25
Message-ID: <20080207064839.BFX95396@mirapoint.jcu.edu>

New on http://www.behindthelinespoetry.blogspot.com

Katie Sedon's Arm is a Whitman Poem 
"Lying Face Down in a Pool of Aesthetics"/Daniel B... 
Matthea Harvey's Modern Life and "The Future of Te... 
"Artists Against the War" Online Exhibit 
Paula McLain's A Ticket to Ride Release Party (and... 
Student Poetry Reading November 27, 2007 at John C... 
Sami Rasouli, Iraqi-American, the Founder of the M... 
Kristen Baumlier is a Petroleum Pop Princess 
Anna Baltzer, Martin Luther King Jr. and Israel/Pa... 
Is Disjunctiveness in Poetry Necessarily an Act of... 
On Scheerbart's The Development of Aerial Militari... 
James Wood on Tolstoy 
Diane DiPrima's "Rant"/and a Riposte called "Cant"... 
Robert Cray's "Twenty"/Keeping Our Eyes Wide Open 
Holzer's Projections of Poetry/Dreamscapes as Big ... 
Voices in Wartime: First War Resistance Poem, "Lam... 
Khalil Gibran in The New Yorker 
Eisenhower's Grandfather Moment 
The Spinanes' "Lines and Lines"/Imagery Warmups 
Stanley Fish, on "The Uses of the Humanities" 
Confronting Orientalism and Anti-Semitism: Salloum... 
U2's "Beautiful Day"/The First Day of the Semester... 
What does this noise have to do with revolution?/W... 
Li-Young Lee's "After the Pyre" (from Poetry Daily... 
The Political Crisis in Kenya 
Desire is Desire: Joe Strummer's "Redemption Song"... 
David-Baptiste Chirot's latest ("The Teller Alone ... 
Chalmers Johnson Bares All (of Charlie Wilson's Wa... 
The Sidewalk Blogger's Questioning Equations 
Poetry and Human Rights/A Web Resource 
Daniel Heyman's Abu Ghraib 
Botero Abu Ghraib/"Cut Loose the Body": An Antholo... 
DC Guerrilla Poetry Insurgency/Some Video Clips of... 


Philip Metres
Associate Professor
Department of English
John Carroll University
20700 N. Park Blvd
University Heights, OH 44118
phone: (216) 397-4528 (work)
fax: (216) 397-1723
http://www.philipmetres.com
http://www.behindthelinespoetry.blogspot.com



From jforjames at aol.com  Thu Feb  7 20:39:25 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 07 Feb 2008 20:39:25 -0500
Subject: [New-Poetry] Fwd: Poem of the Week- Simone Muench
In-Reply-To: <003601c869b4$f3a7f680$6401a8c0@Schlueter>
References: <003601c869b4$f3a7f680$6401a8c0@Schlueter>
Message-ID: <8CA380A929A3B34-454-25F4@FWM-M03.sysops.aol.com>

-----Original Message-----
From: PoemoftheWeek.org <andrewmcfadyenketchum at poemoftheweek.org>
To: Poem of theWeek <andrewmcfadyenketchum at poemoftheweek.org>
Sent: Thu, 7 Feb 2008 1:11 pm
Subject: Poem of the Week- Simone Muench



? 

Poem Of The Week?? 02-08-08?
?

????????????????????



Simone Muench


?

????????????????????



Simone Muench


?











?

Hex

?

?

Trouble came and trouble

brought greasy, ungenerous things:

poke root and bladderwrack, 

chalklines in bloody bedrooms

and black reptilian bags 

smelling of acetylene. 

?

Trouble came and trouble sang

shush-shush or tell-tell

for I alone will break your bones

as it bedded down for winter 

in a small small town,

smelling of cabbage and tripe

where eight black chickens 

wandered the street.

?

With trouble came clouds 

agitating the cows, their thick 

ruminant bodies clogging up 

the riverbeds.? Trouble came 

and sang and fish turned belly-up,

house pets appeared in the well.

Children starting dying

of oddities that the small-town

doctor could not name.

?

Trouble-houses and trouble-towns.

Trouble came in one hundred waves,

in sparks and hexes, with horse-breath 

and spiny borders.? Babies born 

with clubfoots and cleft lips, babies 

born with partial hearts and partial heads

and some just born plain dead.

?

Trouble is and trouble was 

and trouble came and sang

shush-shush or tell-tell

in a small small town.



?

??????????? ??? ? -First published in Caffeine Destiny

?

?

Desire Takes a Road Trip to New Orleans

?

?

Desire changes her name to Desir?e

so people will stop asking if she?s an abstraction

or a reality.? She buys a blue Nova, spins towards New Orleans 

via Texarkana where she saunters into Ricky Dell?s Roadhouse

for a Gibson chilled with onions that she pops

into her mouth before leaning over the bar

to lick the bartender.? Eight days later,

he still shakes with the wisteria scent of her hair

and the sweet acid of onions hovering over his upper lip

where his mustache singed away.? 

?

All the matches in the bar are black by the time 

Desir?e shifts into second with the ease of a boy 

switching his affections from his mother

to his first girlfriend that he finger-fucked in his Dad?s 

silver Impala beneath a moon hung in the sky 

like a wind chime.? The stars sounding out a song 

that only those with an ocean beneath their ribs can hear.? 

?

At Trenton Episcopal, Desir?e decides to use the bathroom.? 

The choir boys are singing Hallelujah 

when she jaunts in like a lucky horseshoe.? Suddenly,

their platelets ring her name while God?s golden mallet 

hammers away at their malleable, sin-soaked hearts.

?

When Desir?e arrives on the esplanades, all the boys 

on the bayou gather to sing, with crooked hearts 

and crooked feet we flee, down a crooked road 

as we pray, Oh Desir?e.?? She slits her skirt 

up her creole thigh, strides likes she?s late for a date 

with Dante Alighieri.? She?s got nowhere to go 

but she likes the leg?s elongation, the stretch 

and flex of muscle, the way the calf

bunches up like a ball that she could spiderweb 

the windows of those indifferent to her siren serenade. 

And she knows if she practices her fastball 

she?ll shatter the glass ceiling of heaven and shards 

will scatter the earth in a simulacrum of lust 

as the flushed lips of sordid saints say, 

Oh Desir?e, Desir?e, only to you we pray.



?

??????????????? ??? ??? ??? -First published in Crab Orchard Review

?

?
?
Simone Muench grew up in Louisiana and Arkansas before moving to Colorado to receive her BA and MA from the University of Colorado. Her first book The Air Lost in Breathing won the Marianne Moore Prize for Poetry (Helicon Nine, 2000). Her second Lampblack & Ash received the Kathryn A. Morton Prize for Poetry (Sarabande Books, 2005), and was one of the editor?s selections in the New York Times Book Review. Her latest chapbooks are Orange Girl (dancing girl press, 2007) and Sonoluminescence written with Bill Allegrezza (Dusie Press, 2007). She has poems appearing in Iowa Review, Denver Quarterly, American Poet, and the anthology The City Visible: Chicago Poetry for the New Century. She received her Ph.D from the University of Illinois at Chicago, and is an assistant professor and director of the Writing Program at Lewis University. Currently, she serves on the advisory board for Switchback Books and is a contributing editor to Sharkforum where she presents a 'poem of the week' series.

?

An Interview with Simone Muench

??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? -by Andrew McFadyen-Ketchum

?

?

Andrew McFadyen-Ketchum: I was first introduced to these poems at a reading a few weeks ago and instantly fell in love with the rhythm, sound, and images in lines like ?trouble came and trouble sang / shush-shush or tell-tell / for I alone will break your bones? and ?At Trenton Episcopal, Desir?e decides to use the bathroom. / The choir boys are singing Hallelujah / when she jaunts in like a lucky horseshoe.?? 

?

What I find particularly moving about ?Hex? is that even though ?Hex? is not a narrative poem, it?s not not a? narrative poem, it?s just that we?re granted access to the story in a way we?re not used to? via this intensely focused study of trouble?s descent upon a ?small, small town.?? 

?

Is this an accurate reading of ?Hex??? Should readers think of this poem as a small part of a larger story??? Is this a ?useful? approach to a poem like this?

?

Simone Muench: I think most approaches to a poem are useful.? In terms of whether this is a narrative poem, I don?t consider it as such, but at the same time it definitely has a relationship to the ballad with a hint of iambic tetrameter running through it, as well as a nod to Nick Cave?s fabulous "Murder Ballads": 

Come take him by his lily-white hands 

Come take him by his feet

And throw him in this deep deep well

Which is more than one hundred feet

?

?

AMK: Without revealing too much, would you mind discussing how this poem developed?? Were you thinking of events from your past or did this poem come from some other place?? 

?

SM:? The world always encroaches on poems, and when I wrote the poem, I was experiencing a sense of foreboding about the future, feeling like we were a failed species.? I was also listening to Bessie Smith and Memphis Minnie, and though the poem isn?t written in a specific blues structure, the darkness of the subject matter and the doubling of certain lines gives it a sort of percussive, obsessive rhythm that I associate with the blues. (See response regarding Nick Cave as well).

?

AMK: Was ?Hex? the sort of poem that you sat down with an intent to write or did it come to you via another avenue? 

?

SM: I think I came up with the refrain first, ?Trouble came and Trouble sang?; I liked the childlike lulling liquidity of it, but I wanted to create a counterpoint to its palliative sound as much as possible with a much more brooding content, specifically the subverting of the cradlesong with 

. . .Babies born

with clubfoots and cleft lips, babies

born with partial hearts and partial heads

and some just born plain dead.

?

AMK: How did you discover this way to write this poem with ?trouble? as the central figure behaving a lot like an antagonist and the town much like a protagonist? 

?

SM: I was watching a lot of WesternsJ? Trouble incarnated by Clint Eastwood and Lee Van Cleef.? Hanging in my office, I have a Danish language poster of The Good, the Bad and the Ugly that I picked up in Copenhagen, so maybe that filtered through my consciousness to metamorphose in the form of a hex poem.

?

AMK: ?Desire Takes a Road Trip to New Orleans? is a neat poem.? It?s in third person omniscient; the speaker of the poem knowing not only what Desir?e does (?Desire changes her name to Desir?e?) but also what Desir?e thinks (?She?s got nowhere to go / but she likes the leg?s elongation?).? At the same time, however, it seems like this is a persona poem, a poem in which the narrator or speaker is someone other than the author.? 

?

Would you mind talking a little bit about this definition of persona?? Do you ever consider the speaker of a poem to be the author of the poem?

?

SM:? I try to never assume the author of a poem is the speaker of a poem, since for me poems don?t have to be categorized as fiction or non-fiction.? In Diane Wakoski?s "Justice is Reason Enough? she writes about her brother David who committed suicide.? Many made the mistake of assuming the author is the speaker of the poems.? Wakowski never had a brother who committed suicide and when asked about it, she responded something along the lines that there is a truth larger than reality.? The poem certainly isn?t lessened for me knowing that it?s invention.

?

AMK: Do you think of persona as a mask the poet wears in order to get at a mode of expression or is persona a way for the poet to imagine what it is like to enter someone else's personality and then write about it?? Is there a difference between the two?

?

SM: I think they?re inextricably bound. I often deploy personae, and many of the poems in my first book are other people?s stories in the manner of Cocteau?s ?the poet doesn't invent. [S]he listens.?? Though ?Desire Takes a Road Trip? is in third person, I often employ the ?I? because it?s constantly revolving?an umbrella pronoun that can separately and simultaneously inhabit the roles of confession, persona and community. Though the ?I? is often mistaken for the author speaking, for me at least, it?s not; but I like the quick illusion of intimacy it can create.? I frequently have my Intro to Creative Writing students write persona poems with a stress on invention and strangeness?one of the most imaginative I?ve received was from the point of view of a tomato on Mars.

?




AMK: Reflecting on both of these poems, why is it that you create central figures that are so rich and, yet, are so elusive? Why write in a persona?? Do these points of view allow you more creative freedom?? A larger elasticity between fiction and non-fiction?


?

SM: In terms of elusiveness and elasticity, I?m intrigued by the paradoxical construction of autonomy and unification that human relationships require, beautifully exemplified in a poem by Paul Eluard called ?Kiss?: ?You overtake, without losing yourself, / The borders of your body // You have overstepped time / Here you are a new woman.?? I?m fascinated by the limbo region of ambivalence, which to me is integral to being human. I?m interested in that moment when the border (or the leash) between things begins to dissolve and self becomes other, identity becomes identities. In a poem from Charles Wright?s Country Music he writes:? ?I want to be stretched, like music wrung from a dropped seed. / I want to be entered and picked clean.? I?m entranced by that act of emptying the self, which is neither positive nor negative but an ambi-(valent) state, as is the division between fiction and non-fiction.

?

AMK: Finally, what?s most important to you in poetry: music, image, sound, metaphor, allusion, story, place??? You?ve got them all.? What drives you to write a poem?

?

SM: I responded this question in a previous interview, so I?m going to rephrase some of it here. Each poem changes in terms of process, sometimes it?s an image that becomes the centerpiece, sometimes it?s a sonically challenging line that becomes the rhetorical device to build the poem upon. My friend, the wonderful poet Kristy Odelius, likes to use an analogy between poets and furniture-makers, as we have two mutual friends who are wood workers.? When you first decide to build something you?re usually more concerned with the finished product?the chest-of-drawers or the chiffonier, but the more you construct, the more you fall in love with the materials themselves:? the wood, the words.? My earlier work was more concerned with subject matter, and the finished, polished product; now, I?m much more concerned with the textures and crossgrains of language. I think of my work as more of an homage, sense catalogue, travelogue and langue-logue: a kind of call-&-response in its continued tribute to poets, movies, musicians, and the dead.

?

AMK: Thank you.

?

SM: Thanks Andy! Here?s to you handsomely sporting the T-shirt and blazer look.





________________________________________________________________________
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From jforjames at aol.com  Thu Feb  7 20:48:48 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 07 Feb 2008 20:48:48 -0500
Subject: [New-Poetry] litmag watch: Model Homes issue 2
In-Reply-To: <47AB4706.5060706@hfa.umass.edu>
References: <47AB4706.5060706@hfa.umass.edu>
Message-ID: <8CA380BE1EA74DC-454-2666@FWM-M03.sysops.aol.com>




Hello writers,
We're pleased to announce the release of Model Homes issue 2 for your 
perusal.
Model Homes is edited by UMass Alums and has published the work of UMass 
MFAers in both issues. Issue 2 contains the work of

Dorothy Trujillo Lusk
Lawrence Giffin
Tan Lin
Judith Goldman
Kit Robinson
Robert Fitterman
Carla Harryman
Jennifer Scappettone
Tao Lin
Louis Cabri
Seth Landman
Catriona Strang & Nancy Shaw

Issue and Subscription orders are now available through PayPal. All 
correspondence, support, and inquiries welcome.


8.5 x 7, 64p, saddle stitched, made with love.
issn# 1938-8136
a Lil' Norton production

http://modelhomepage.blogspot.com/
&
 http://www.myspace.com/modelhomespoetry



________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From jforjames at aol.com  Fri Feb  8 09:21:16 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 08 Feb 2008 09:21:16 -0500
Subject: [New-Poetry] Fwd: ABC Radio National Books and Drama newsletter,
	8-15 February
In-Reply-To: <LYRIS-546533-84700-2008.02.08-15.58.22--JforJames#aol.com@mail.abcnewsletters.net.au>
References: <LYRIS-546533-84700-2008.02.08-15.58.22--JforJames#aol.com@mail.abcnewsletters.net.au>
Message-ID: <8CA3875005950A5-D28-1399@MBLK-M41.sysops.aol.com>

-----
From: ABC Radio National Books & Drama Programs <airplay at your.abc.net.au>
To: JforJames at aol.com
Sent: Fri, 8 Feb 2008 12:58 am
Subject: ABC Radio National Books and Drama newsletter, 8-15 February



ABC Radio National
ooks and Drama newsletter
 - 15 February 2008

OETICA
/2/2008 15:00
3/2/2008 15:00 (repeat)
ICOLETTE STASKO - GLASS CATHEDRALS, featuring readings by Jeanette Cronin and 
ebecca Havey, produced by Lisa Warczak 
RL: http://www.abc.net.au/rn/poetica/stories/2008/2141609.htm
icolette Stasko reads from her new and selected collection of poems, 'Glass 
athedrals' and talks about her writing with Lisa Warczak.

INGUA FRANCA
/2/2008 15:45
3/2/2008 15:45
E AND OTHER LANGUAGES
RL: http://www.abc.net.au/rn/linguafranca/stories/2008/2157586.htm
arking the United Nations-declared International Year of Languages, as well as 
ts goal to preserve and promote linguistic diversity, the linguist Alexandra 
ikhenvald tells the story of her own multilingualism, reflecting the story of a 
ountry that no longer exists.

HORT STORY
0/2/2008 - 8.30
N MY OWN, by Rosemary Van Den Berg, read by Kyas Sherriff.
RL: http://www.abc.net.au/rn/shortstory/stories/2008/2150991.htm
n Aboriginal grandmother finds it difficult to cope with a trip away from her 
amily.

HORT STORY
3/2/2008 - 15.35
HE EXTRACTION, by Jon Bauer, read by Neil Pigot
RL: http://www.abc.net.au/rn/shortstory/stories/2008/2150994.htm
he dentist and the dental surgery he operated in have to suffer one last 
xtraction.

IRPLAY
0/2/2008 15:00
5/2/2008 21:00 (repeat)
HE SPOOK - Part 2, by Melissa Reeves, featuring a large cast including Tom Long 
nd Kerry Walker, produced by Anne McInerney
RL: http://www.abc.net.au/rn/airplay/stories/2008/2141626.htm
n part two of Melissa Reeves?s award-winning play, Martin, now officially 
ccepted into the South Bendigo Branch of the Communist Party, finds it 
ifficult to think of the seemingly normal people he has met as dangers to the 
ountry but Alex convinces him they are up to no good. 
eeves' play shows how the atmosphere of threat and fear that was prevalent at 
he height of the Cold War took its toll on the thinking of ordinary 
ustralians.

HE BOOK SHOW
onday to Friday 10:00am (repeated at midnight)
11/2/2008
HARLOTTE WOOD'S NOVEL 'THE CHILDREN'
RL: http://www.abc.net.au/rn/bookshow/stories/2008/2157938.htm
oing back home, at whatever age, can reignite those sibling rivalies and 
ealousies that we thought we'd grown out of can't it? In Charlotte Wood's new 
ovel The Children, this is what confronts Mandy a foreign correspondent who's 
itnessed war in Bosnia and Bagdad. She returns home to be with her father who's 
n hospital but finds herself reimersed in the tensions of her childhood.
12/2/2008
ARKETING LADY CHATTERLEY - ORIGINS OF SPIN IN PUBLISHING WITH JONATHAN ROSE 
RL: http://www.abc.net.au/rn/bookshow/stories/2008/2157949.htm
riters are often thought of as demi-gods and the words they create are 
onsidered sacred, so it's easy to forget that their work is still marketed to 
he public, that they have to deal with agents, lawyers and designers. Jonathan 
ose is a book historian who's looked at the origins of publishing spin and how 
he works of Oscar Wilde, Virginia Woolfe and D.H. Lawrence were originally 
arketed.
13/2/2008
OY JACOBSEN'S NOVEL 'THE BURNT-OUT TOWN OF MIRACLES'
RL: http://www.abc.net.au/rn/bookshow/stories/2008/2157952.htm
he story of a man who goes through a winter war with the help of some very 
nlikely friends.
14/2/2008
ETER STOTHARD 
RL: http://www.abc.net.au/rn/bookshow/stories/2008/2158003.htm
pdate from the editor of the Times Literary Supplement.
15/2/2008
O BURN OR NOT TO BURN? 
RL: http://www.abc.net.au/rn/bookshow/stories/2008/2157977.htm
imitri Nabokov is 73, and he has a difficult decision to make - he has 
ragments of an unpublished manuscript by his father that Vladimir wanted burned 
fter his death. Vera Nabokov couldn't do it and Dimitri Nabokov has been the 
iterary executor of Vladimir Nabokov's estate since his mother died in 1991 and 
e hasn't carried out his father's wishes. What should he do?

HE BOOK READING
onday to Friday 14:00 (repeated at 23:00)
/2/2008 - 15/2/2008
N IMAGINARY LIFE, by David Malouf, read by Tony Llewellyn-Jones, produced by 
nne Wynter
RL: http://www.abc.net.au/rn/bookreading/stories/2008/2104942.htm 
he Roman poet Ovid, in exile, tells the story of his encounter with a wild boy, 
rought up among wolves in the snow. At first the poet assumes the role of 
rotector to the boy; gradually, however, the role of protector and protected 
re reversed as the two form a curious and touching alliance.

IRST PERSON
onday to Friday 10.45am
/2/2008 - 15/2/2008
AD HAIR DAYS, written and read by Pamela Bone, produced by Anne McInerney
RL: http://www.abc.net.au/rn/firstperson/stories/2008/2108970.htm
nsentimental, clear and often full of dark humour, 'Bad Hair Days' is Pamela 
one's account of her experience with cancer.
amela Bone, esteemed newspaper journalist and columnist, was on assignment in 
frica when she first became ill. On her return to Melbourne, she was diagnosed 
ith multiple myeloma, a cancer of the bone marrow. It can be treated but it 
annot be cured.
n her honest, no-holds-barred account of her journey, Bone describes the 
hysical, psychological and emotional consequences of cancer both for herself 
nd her family.

==================================================================
To sign off this mail list or for further information go to:
ttp://www.abc.net.au/rn/newsletters/booksanddrama/
If you have comments or suggestions email us at:
irplay at your.abc.net.au
Radio National is the Australian Broadcasting Corporation's specialist
ournalism and arts network, broadcasting across Australia.
Radio National homepage: http://abc.net/rn
Tune in: http://abc.net.au/rn/freq/map.htm


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From mandolin at mac.com  Fri Feb  8 09:38:08 2008
From: mandolin at mac.com (Michael Snider)
Date: Fri, 8 Feb 2008 09:38:08 -0500
Subject: [New-Poetry] If you're in the Annapolis, DC area ... 
Message-ID: <B707FC03-2BEB-49E4-8FF2-005B2604EE80@mac.com>

I'm the featured reader tonight at BB Bistro's monthly poetry open  
mic. That means I get 2 10-15 minute sets and everybody else gets 2 5  
minute sets. It would be great for there to be a lot of everybody  
else.  I'll have homemade chaps for sale or trade and my fiancee (www.krysbaker.com 
) and I will finish up by performing on guitar and mandolin one of my  
poems she's set to music.

The food is supposed to be good ...

6:30-8:30,  112A Annapolis St, Annapolis, MD


From Opus40-01 at opus40.org  Fri Feb  8 11:06:36 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Fri, 08 Feb 2008 11:06:36 -0500
Subject: [New-Poetry] If you're in the Annapolis, DC area ...
In-Reply-To: <B707FC03-2BEB-49E4-8FF2-005B2604EE80@mac.com>
References: <B707FC03-2BEB-49E4-8FF2-005B2604EE80@mac.com>
Message-ID: <47AC7E0C.9060300@opus40.org>

You're trading your fiancee?

I will be there in spirit.



Michael Snider wrote:
> I'm the featured reader tonight at BB Bistro's monthly poetry open 
> mic. That means I get 2 10-15 minute sets and everybody else gets 2 5 
> minute sets. It would be great for there to be a lot of everybody 
> else.  I'll have homemade chaps for sale or trade and my fiancee 
> (www.krysbaker.com) and I will finish up by performing on guitar and 
> mandolin one of my poems she's set to music.
>
> The food is supposed to be good ...
>
> 6:30-8:30,  112A Annapolis St, Annapolis, MD
> _______________________________________________
> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From jforjames at aol.com  Fri Feb  8 22:00:39 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 08 Feb 2008 22:00:39 -0500
Subject: [New-Poetry] when metacriticism goes bad
Message-ID: <8CA38DF15B7F793-2B8-2250@webmail-de15.sysops.aol.com>

http://poetryfoundation.org/harriet/2008/02/who_you_callin_postavant.html

You wouldn't know a 'post avant' if?one hit you in head.

I was 'post avant' before you were a gleam in your mama's eye.

Some of my best friends are 'post avants'.

'Post avant' up yours!

________________________________________________________________________
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From Opus40-01 at opus40.org  Fri Feb  8 23:43:58 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Fri, 08 Feb 2008 23:43:58 -0500
Subject: [New-Poetry] Mole Update -- Art Exhibit
Message-ID: <47AD2F8E.7080706@opus40.org>

For your invitation, http://opusforty.blogspot.com/ -- click to enlarge

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

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From shin02143 at aol.com  Sat Feb  9 09:18:28 2008
From: shin02143 at aol.com (shin02143 at aol.com)
Date: Sat, 09 Feb 2008 09:18:28 -0500
Subject: [New-Poetry] Mole Update -- Art Exhibit
In-Reply-To: <47AD2F8E.7080706@opus40.org>
References: <47AD2F8E.7080706@opus40.org>
Message-ID: <8CA393DC6A7D602-268-3218@webmail-de05.sysops.aol.com>

The jingle applies to modern American music as well.



Richard St. Clair


-----Original Message-----
From: TheOldMole <Opus40-01 at opus40.org>
Bcc: shin02143 at aol.com
Sent: Fri, 8 Feb 2008 11:43 pm
Subject: [New-Poetry] Mole Update -- Art Exhibit







For your invitation, http://opusforty.blogspot.com/ -- click to enlarge?
?

-- 
Tad Richards?

http://www.opus40.org/tadrichards/?

http://opusforty.blogspot.com/?
?

The moral is this: in American verse,?

The better you are, the pay is worse.?

?--Corey Ford?
?

_______________________________________________?

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  Sat Feb  9 17:22:13 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 9 Feb 2008 17:22:13 EST
Subject: [New-Poetry] more Corn
Message-ID: <c6c.1f926c74.34df8195@aol.com>

 
(FYI...this book from which these are quoted has aphorisms related to  many 
themes. I selected those most appropriate to poetry and the artist's  lot.) 
-- 
Meter (as well as strophic form) is inseparable from the ingenuity of  
invention and as such one of the manifestations of irrationality in  poetry 
The writer must be a polyglot?the best way to learn how all language is  
foreign, especially one?s own. 
Literature is in permanent competition with its interpretations. Since  the 
70s, it could be said to have lost?often because it ?threw? the  fight. 
Older poets may well say, paraphrasing Villars de L?Isle Adam, ?Feel? But  
we have our poems to do that for us?? 
Aphorisms are fictions, otherwise they would be no more striking  than the 
morning paper. In fact, the best aphorisms are poems or novels in  capsule form. 
Publishing poems written to a lover: isn?t it like those Valentine  messages 
painted with a spray can on highway overpasses, read by all who drive  toward 
them, without knowing the writer or the addressee, and yet, under the  spell 
of identification, perhaps reminded of their own emotions? 
There?s no reason criticism can?t amount to poetry in prose?so long as  the 
critic finds the right words. Those able to do that, though, usually  consider 
it enough to be authors of poems written in lines. 
Goethe said poetry is what survives translation; for Frost it was what  doesn?
t. Well? Although that celebrated piping and drumming of particular lines  
may be lost, along with the bright mist of connotation, I lean toward Goethe, if 
 what we mean by poetry is original thought and deep feeling. 
Life wounds everyone. Besides blood, however, the artist sheds  light. 
The more one knows, the more connections abound. So then  omniscience would 
perceive all parts of reality as coincident with all other  parts. By 
establishing one or two of those coincidences, the artist gives the  sensation of 
omniscience.   
Poetry is speech that counts. 
A great poem is a lamp by which we read other poems past and  present. 
Edgar Allan Poe: Romance, necrophilia, necromancy. 
They do parodies of W?s writings; but she doesn?t do parodies of  theirs. 
When authors are ?unearthly,? they should still try not to be from  another 
planet. 
Feelings are always enhanced by the sensation that they are being shared  and 
complemented by a larger community: the of the solo instrument  concerto. 
Poets, as public readers and interviewees, are asked to become the disc  
jockey and also the graduate student of themselves. 
Metaphor sleeps around. 
Try as we might, some ?impurities? will remain in the poem?s final draft;  
but they are like tea leafs at the bottom of the cup, recalling the flavor?s  
origin, and, could we read them, telling us our fortune. 
?Alfred  Corn, The Pith Helmet, Cummington Press,  1992



**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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From JforJames at aol.com  Sat Feb  9 18:01:42 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 9 Feb 2008 18:01:42 EST
Subject: [New-Poetry] more Corn
Message-ID: <cfa.2957b6a1.34df8ad6@aol.com>

 
Correction...

Feelings are always enhanced by the sensation that they are being  shared and 
complemented by a larger community: the principle of the solo  instrument 
concerto. 







**************Biggest Grammy Award surprises of all time on AOL Music.     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)
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From JforJames at aol.com  Sat Feb  9 18:16:26 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 9 Feb 2008 18:16:26 EST
Subject: [New-Poetry] WorldPo: Edwin Morgan
Message-ID: <cd5.259f7498.34df8e4a@aol.com>

_http://books.guardian.co.uk/review/story/0,,2246869,00.html_ 
(http://books.guardian.co.uk/review/story/0,,2246869,00.html) 
Zest and grit
 
Edwin Morgan, Glasgow's poet laureate, has helped shape Scotland's postwar  
identity and a generation of writers. But he will be best remembered for his  
guarded love poetry, says Sarah Crown 
 
Saturday January 26, 2008
The Guardian 
 
In March, as part of Glasgow's annual Aye Write! festival, 15,000 free  
copies of From Glasgow to Saturn: Fifty Favourite Poems by Edwin Morgan (as  voted 
for by his readers) will be distributed across the city via libraries,  
schools and bookshops. Morgan's is the first poetry collection to be selected as  a 
"city read" anywhere in the UK - a demonstration of Glasgow's devotion to its  
inaugural poet laureate, a post created for him in 1997, who has chronicled 
and  mythologised the city for over half a century. It is the climax to a year 
that  would count as remarkable in the career of any poet, never mind one 
who'll be 88  in April. The rapturous reception last spring of his latest 
collection, A Book  of Lives, was followed in October by the news that, in the wake of 
his 2004  appointment as Scots Makar (national poet), the Heritage Lottery 
Fund had  awarded the Scottish Poetry Library a grant of ?50,000 to acquire and 
house his  extensive archive. 



**************Biggest Grammy Award surprises of all time on AOL Music.     
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48)
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From chris.lott at gmail.com  Sat Feb  9 18:33:58 2008
From: chris.lott at gmail.com (Chris Lott)
Date: Sat, 9 Feb 2008 14:33:58 -0900
Subject: [New-Poetry] when metacriticism goes bad
In-Reply-To: <8CA38DF15B7F793-2B8-2250@webmail-de15.sysops.aol.com>
References: <8CA38DF15B7F793-2B8-2250@webmail-de15.sysops.aol.com>
Message-ID: <9b1b9dab0802091533y6a877e1i100b7bf7b005f888@mail.gmail.com>

On the whole, I found it to be quite an interesting discussion. I am
inclined to be averse to Mlinko based on some past correspondence,
which may be the source of my perception that she was basically
subjected to a good old-fashioned smackdown for about the first half
of the argument, then it took a strange turn that I don't really
understand and I no longer know what either she nor Shepherd think.

I see her as having an outsized and idealized view of writing poetry
as a historical political act. I'm sure she would point out how
misguided I am. Maybe it comes from being too young to have
experienced it and living in a time where that kind of thing is so
impossible as to seem that it must have ever been so. It seems to me
that when politics enters the picture, the poetry gets shoved out the
back door.

c


On Feb 8, 2008 6:00 PM,  <jforjames at aol.com> wrote:
> http://poetryfoundation.org/harriet/2008/02/who_you_callin_postavant.html
>
>  You wouldn't know a 'post avant' if one hit you in head.
>
>  I was 'post avant' before you were a gleam in your mama's eye.
>
>  Some of my best friends are 'post avants'.
>
>  'Post avant' up yours!
>
>  ________________________________
>  More new features than ever. Check out the new AOL Mail!
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>



-- 
Chris Lott


From jforjames at aol.com  Sun Feb 10 11:27:51 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Sun, 10 Feb 2008 11:27:51 -0500
Subject: [New-Poetry] when metacriticism goes bad
In-Reply-To: <9b1b9dab0802091533y6a877e1i100b7bf7b005f888@mail.gmail.com>
References: <8CA38DF15B7F793-2B8-2250@webmail-de15.sysops.aol.com>
	<9b1b9dab0802091533y6a877e1i100b7bf7b005f888@mail.gmail.com>
Message-ID: <8CA3A190405BE34-D20-1F26@webmail-md20.sysops.aol.com>


I agree there's some good stuff in the give and take. Harriet a blog I often check in with, because it seems to make a point of having disparate set of characters doing blogging. Where else would you find A.E. Stallings, Major Jackson, Christian Bok, et al,?in any sort of proximity or potential colloquy.

I resist the need to strictly define 'post avant' (and thus fence out?certain poets) in such an early stage of its emergence. I know these categorizations can be useful in identifying trends and fashions, but it makes me crazy when people get territorial before time has a chance to settle things out a bit. The 'post' prefix,?being a graft from 'post-modern'?means or certainly implies a?wide and unwieldy?set of practices. So does the list of names matter as much as trying?to identify some?of the practices that might be in play under heading 'post avant'? 

Pedigree?also seems?to matter too much.?Or maybe it's like Adam getting to name the animals. Their can only be one Adam, it seems.?

Finnegan

-----Original Message-----
From: Chris Lott <chris.lott at gmail.com>
Bcc: jforjames at aol.com
Sent: Sat, 9 Feb 2008 6:33 pm
Subject: Re: [New-Poetry] when metacriticism goes bad




On the whole, I found it to be quite an interesting discussion. I am
inclined to be averse to Mlinko based on some past correspondence,
which may be the source of my perception that she was basically
subjected to a good old-fashioned smackdown for about the first half
of the argument, then it took a strange turn that I don't really
understand and I no longer know what either she nor Shepherd think.

I see her as having an outsized and idealized view of writing poetry
as a historical political act. I'm sure she would point out how
misguided I am. Maybe it comes from being too young to have
experienced it and living in a time where that kind of thing is so
impossible as to seem that it must have ever been so. It seems to me
that when politics enters the picture, the poetry gets shoved out the
back door.

c


On Feb 8, 2008 6:00 PM,  <jforjames at aol.com> wrote:
> http://poetryfoundation.org/harriet/2008/02/who_you_callin_postavant.html
>
>  You wouldn't know a 'post avant' if one hit you in head.
>
>  I was 'post avant' before you were a gleam in your mama's eye.
>
>  Some of my best friends are 'post avants'.
>
>  'Post avant' up yours!
>
>  ________________________________
>  More new features than ever. Check out the new AOL Mail!
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>



-- 
Chris Lott
_______________________________________________
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  Sun Feb 10 11:38:00 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Sun, 10 Feb 2008 11:38:00 -0500
Subject: [New-Poetry] Mole Update -- Art Exhibit
In-Reply-To: <47AD2F8E.7080706@opus40.org>
References: <47AD2F8E.7080706@opus40.org>
Message-ID: <8CA3A1A6EF6A594-D20-1F7B@webmail-md20.sysops.aol.com>


Don't know that I'll be able to make it to the show,?Tad,?but I like the sample from the poster. What kind of prints are they? A refreshing medley of scenes/themes going on there...

The?one with all the kids?with bats and none with gloves reminds me of my childhood baseball days. Everyone wants to be the big hitter. No glories in the?glove at that age. And it's hard for young arms to find the plate with any consistency.
Finnegan


-----Original Message-----
From: TheOldMole <Opus40-01 at opus40.org>
Bcc: jforjames at aol.com
Sent: Fri, 8 Feb 2008 11:43 pm
Subject: [New-Poetry] Mole Update -- Art Exhibit



For your invitation, http://opusforty.blogspot.com/ -- click to enlarge?
?
-- Tad Richards?
http://www.opus40.org/tadrichards/?
http://opusforty.blogspot.com/?
?
The moral is this: in American verse,?
The better you are, the pay is worse.?
?--Corey Ford?
?
_______________________________________________?
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 halvard at earthlink.net  Sun Feb 10 11:42:59 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Sun, 10 Feb 2008 10:42:59 -0600
Subject: [New-Poetry] when metacriticism goes bad
In-Reply-To: <8CA3A190405BE34-D20-1F26@webmail-md20.sysops.aol.com>
References: <8CA38DF15B7F793-2B8-2250@webmail-de15.sysops.aol.com>
	<9b1b9dab0802091533y6a877e1i100b7bf7b005f888@mail.gmail.com>
	<8CA3A190405BE34-D20-1F26@webmail-md20.sysops.aol.com>
Message-ID: <AB2149C6-013F-4FB0-99AF-5CE951006E4D@earthlink.net>

Or how about "post derriere" poets?--those who no longer guard
their rears. Or "post postal" poets?--those who no longer use the
mails to disseminate their works. Or "post toasties" poets?--those
who still eat those crispy little things. Or "post nasal drip" poets,
or  . . .

Hal

"Music is continuous. Only listening
  is intermittent."
                 --Henry David Thoreau

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 Feb 10, 2008, at 10:27 AM, JforJames at aol.com wrote:

> I agree there's some good stuff in the give and take. Harriet a blog  
> I often check in with, because it seems to make a point of having  
> disparate set of characters doing blogging. Where else would you  
> find A.E. Stallings, Major Jackson, Christian Bok, et al, in any  
> sort of proximity or potential colloquy.
>
> I resist the need to strictly define 'post avant' (and thus fence  
> out certain poets) in such an early stage of its emergence. I know  
> these categorizations can be useful in identifying trends and  
> fashions, but it makes me crazy when people get territorial before  
> time has a chance to settle things out a bit. The 'post' prefix,  
> being a graft from 'post-modern' means or certainly implies a wide  
> and unwieldy set of practices. So does the list of names matter as  
> much as trying to identify some of the practices that might be in  
> play under heading 'post avant'?
>
> Pedigree also seems to matter too much. Or maybe it's like Adam  
> getting to name the animals. Their can only be one Adam, it seems.
> Finnegan
>
> -----Original Message-----
> From: Chris Lott <chris.lott at gmail.com>
> Bcc: jforjames at aol.com
> Sent: Sat, 9 Feb 2008 6:33 pm
> Subject: Re: [New-Poetry] when metacriticism goes bad
>
> On the whole, I found it to be quite an interesting discussion. I am
> inclined to be averse to Mlinko based on some past correspondence,
> which may be the source of my perception that she was basically
> subjected to a good old-fashioned smackdown for about the first half
> of the argument, then it took a strange turn that I don't really
> understand and I no longer know what either she nor Shepherd think.
>
> I see her as having an outsized and idealized view of writing poetry
> as a historical political act. I'm sure she would point out how
> misguided I am. Maybe it comes from being too young to have
> experienced it and living in a time where that kind of thing is so
> impossible as to seem that it must have ever been so. It seems to me
> that when politics enters the picture, the poetry gets shoved out the
> back door.
>
> c
>
>
> On Feb 8, 2008 6:00 PM,  <jforjames at aol.com> wrote:
> > http://poetryfoundation.org/harriet/2008/02/who_you_callin_postavant.html
> >
> >  You wouldn't know a 'post avant' if one hit you in head.
> >
> >  I was 'post avant' before you were a gleam in your mama's eye.
> >
> >  Some of my best friends are 'post avants'.
> >
> >  'Post avant' up yours!
> >
> >  ________________________________
> >  More new features than ever. Check out the new AOL Mail!
> >
> > _______________________________________________
> > New-Poetry mailing list
> > New-Poetry at wiz.cath.vt.edu
> > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
> >
> >
>
>
>
> -- 
> Chris Lott
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
> More new features than ever. Check out the new 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 jforjames at aol.com  Sun Feb 10 12:06:03 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Sun, 10 Feb 2008 12:06:03 -0500
Subject: [New-Poetry] when metacriticism goes bad
In-Reply-To: <AB2149C6-013F-4FB0-99AF-5CE951006E4D@earthlink.net>
References: <8CA38DF15B7F793-2B8-2250@webmail-de15.sysops.aol.com>	<9b1b9dab0802091533y6a877e1i100b7bf7b005f888@mail.gmail.com>	<8CA3A190405BE34-D20-1F26@webmail-md20.sysops.aol.com>
	<AB2149C6-013F-4FB0-99AF-5CE951006E4D@earthlink.net>
Message-ID: <8CA3A1E59F3DBB4-D20-204B@webmail-md20.sysops.aol.com>

"I avant to be left alone," said the diva poet.


-----Original Message-----
From: Halvard Johnson <halvard at earthlink.net>
Bcc: jforjames at aol.com
Sent: Sun, 10 Feb 2008 11:42 am
Subject: Re: [New-Poetry] when metacriticism goes bad


Or how about "post derriere" poets?--those who no longer guard
their rears. Or "post postal" poets?--those who no longer use the

mails to disseminate their works. Or "post toasties" poets?--those

who still eat those crispy little things. Or "post nasal drip" poets,

or ?. . .




Hal





"Music is continuous. Only listening

?is intermittent."

?? ?? ?? ?? ?? ?--Henry David Thoreau




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 Feb 10, 2008, at 10:27 AM, JforJames at aol.com wrote:



I agree there's some good stuff in the give and take. Harriet a blog I often check in with, because it seems to make a point of having disparate set of characters doing blogging. Where else would you find A.E. Stallings, Major Jackson, Christian Bok, et al,?in any sort of proximity or potential colloquy.

I resist the need to strictly define 'post avant' (and thus fence out?certain poets) in such an early stage of its emergence. I know these categorizations can be useful in identifying trends and fashions, but it makes me crazy when people get territorial before time has a chance to settle things out a bit. The 'post' prefix,?being a graft from 'post-modern'?means or certainly implies a?wide and unwieldy?set of practices. So does the list of names matter as much as trying?to identify some?of the practices that might be in play under heading 'post avant'? 

Pedigree?also seems?to matter too much.?Or maybe it's like Adam getting to name the animals. Their can only be one Adam, it seems.?

Finnegan

-----Original Message-----
From: Chris Lott <chris.lott at gmail.com>
Bcc: jforjames at aol.com
Sent: Sat, 9 Feb 2008 6:33 pm
Subject: Re: [New-Poetry] when metacriticism goes bad




On the whole, I found it to be quite an interesting discussion. I am
inclined to be averse to Mlinko based on some past correspondence,
which may be the source of my perception that she was basically
subjected to a good old-fashioned smackdown for about the first half
of the argument, then it took a strange turn that I don't really
understand and I no longer know what either she nor Shepherd think.

I see her as having an outsized and idealized view of writing poetry
as a historical political act. I'm sure she would point out how
misguided I am. Maybe it comes from being too young to have
experienced it and living in a time where that kind of thing is so
impossible as to seem that it must have ever been so. It seems to me
that when politics enters the picture, the poetry gets shoved out the
back door.

c


On Feb 8, 2008 6:00 PM,  <jforjames at aol.com> wrote:
> http://poetryfoundation.org/harriet/2008/02/who_you_callin_postavant.html
>
>  You wouldn't know a 'post avant' if one hit you in head.
>
>  I was 'post avant' before you were a gleam in your mama's eye.
>
>  Some of my best friends are 'post avants'.
>
>  'Post avant' up yours!
>
>  ________________________________
>  More new features than ever. Check out the new AOL Mail!
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>



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


More new features than ever. Check out the new AOL Mail!

_______________________________________________
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


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From anny.ballardini at tin.it  Sun Feb 10 12:24:46 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 10 Feb 2008 18:24:46 +0100
Subject: [New-Poetry] when metacriticism goes bad
In-Reply-To: <8CA3A1E59F3DBB4-D20-204B@webmail-md20.sysops.aol.com>
References: <8CA38DF15B7F793-2B8-2250@webmail-de15.sysops.aol.com>	<9b1b9dab0802091533y6a877e1i100b7bf7b005f888@mail.gmail.com>	<8CA3A190405BE34-D20-1F26@webmail-md20.sysops.aol.com><AB2149C6-013F-4FB0-99AF-5CE951006E4D@earthlink.net>
	<8CA3A1E59F3DBB4-D20-204B@webmail-md20.sysops.aol.com>
Message-ID: <FA09A1E226F045D3BC6579FCD3D3B9E9@AnnyPC>

_I avant to be left a bone_

dadaist dog
  ----- Original Message ----- 
  From: jforjames at aol.com 
  To: new-poetry at wiz.cath.vt.edu 
  Sent: Sunday, February 10, 2008 6:06 PM
  Subject: Re: [New-Poetry] when metacriticism goes bad


  "I avant to be left alone," said the diva poet.


  -----Original Message-----
  From: Halvard Johnson <halvard at earthlink.net>
  Bcc: jforjames at aol.com
  Sent: Sun, 10 Feb 2008 11:42 am
  Subject: Re: [New-Poetry] when metacriticism goes bad


  Or how about "post derriere" poets?--those who no longer guard 
  their rears. Or "post postal" poets?--those who no longer use the
  mails to disseminate their works. Or "post toasties" poets?--those
  who still eat those crispy little things. Or "post nasal drip" poets,
  or  . . .


  Hal


  "Music is continuous. Only listening
   is intermittent."
                  --Henry David Thoreau


  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 Feb 10, 2008, at 10:27 AM, JforJames at aol.com wrote:


    I agree there's some good stuff in the give and take. Harriet a blog I often check in with, because it seems to make a point of having disparate set of characters doing blogging. Where else would you find A.E. Stallings, Major Jackson, Christian Bok, et al, in any sort of proximity or potential colloquy.

    I resist the need to strictly define 'post avant' (and thus fence out certain poets) in such an early stage of its emergence. I know these categorizations can be useful in identifying trends and fashions, but it makes me crazy when people get territorial before time has a chance to settle things out a bit. The 'post' prefix, being a graft from 'post-modern' means or certainly implies a wide and unwieldy set of practices. So does the list of names matter as much as trying to identify some of the practices that might be in play under heading 'post avant'? 

    Pedigree also seems to matter too much. Or maybe it's like Adam getting to name the animals. Their can only be one Adam, it seems. 
    Finnegan

    -----Original Message-----
    From: Chris Lott <chris.lott at gmail.com>
    Bcc: jforjames at aol.com
    Sent: Sat, 9 Feb 2008 6:33 pm
    Subject: Re: [New-Poetry] when metacriticism goes bad


On the whole, I found it to be quite an interesting discussion. I am
inclined to be averse to Mlinko based on some past correspondence,
which may be the source of my perception that she was basically
subjected to a good old-fashioned smackdown for about the first half
of the argument, then it took a strange turn that I don't really
understand and I no longer know what either she nor Shepherd think.

I see her as having an outsized and idealized view of writing poetry
as a historical political act. I'm sure she would point out how
misguided I am. Maybe it comes from being too young to have
experienced it and living in a time where that kind of thing is so
impossible as to seem that it must have ever been so. It seems to me
that when politics enters the picture, the poetry gets shoved out the
back door.

c


On Feb 8, 2008 6:00 PM,  <jforjames at aol.com> wrote:
> http://poetryfoundation.org/harriet/2008/02/who_you_callin_postavant.html
>
>  You wouldn't know a 'post avant' if one hit you in head.
>
>  I was 'post avant' before you were a gleam in your mama's eye.
>
>  Some of my best friends are 'post avants'.
>
>  'Post avant' up yours!
>
>  ________________________________
>  More new features than ever. Check out the new AOL Mail!
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>



-- 
Chris Lott
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From Opus40-01 at opus40.org  Sun Feb 10 12:25:29 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Sun, 10 Feb 2008 12:25:29 -0500
Subject: [New-Poetry] Mole Update -- Art Exhibit
In-Reply-To: <8CA3A1A6EF6A594-D20-1F7B@webmail-md20.sysops.aol.com>
References: <47AD2F8E.7080706@opus40.org>
	<8CA3A1A6EF6A594-D20-1F7B@webmail-md20.sysops.aol.com>
Message-ID: <47AF3389.8090502@opus40.org>

It's  kind of a technique of my own invention. When Rachel Loden and I 
were doing "Affidavit," my art work for that was black and white, drawn 
directly on my computer screen using Microsoft Paint and one tool -- the 
one called "free-form select," shaped like a star on your MSPaint 
toolbox. I'd draw a shape, then invert it (using a little trick I had to 
discover -- you can't just invert with MSPaint), and keep working 
positive and negative space against each other until I had an image I 
liked. It's the same technique I use for the Film Noir images.

Then, because Rachel's amazing poem was about a gruesome murder, I 
decided I'd put some blood into each picture, which meant adding red, 
which scared me a little, because I'd always worked in black and white, 
and had no confidence in my ability to use color. So I started sending 
the new bloody images to Rachel, and she kept responding "Great! But not 
bloody enough." So I kept changing the color, looking for ever-gorier 
shades of red. Which should have been relatively easy -- you just take 
the paint bucket tool, and pour the new red over the old.

Except it wasn't. I discovered that MSPaint was an inefficient program 
that could not save color true. Once you saved an image, when you 
retrieved it, the middle of it was true, but it pixillated around the 
edges. It became discolored, mottled, and the new color wouldn't cover 
that part. None of this is a problem with PhotoShop, but fortunately I 
didn't have PhotoShop then, so I had to work with the frustration, and 
ultimately get it to work for me. While the mottled effect was driving 
me nuts for "Affidavit," it was also intriguing me, and it occurred to 
me that if you worked with dots of color, and saved frequently, every 
part of the image would have that effect. So I gathered up all my 
courage and made the jump into color -- computer pointillism, beginning 
an image with separated dots of color, and gradually merging them.

It is a horribly painstaking process -- each one of these can take up to 
three months to finish. But it keeps me off the streets.



jforjames at aol.com wrote:
> Don't know that I'll be able to make it to the show, Tad, but I like 
> the sample from the poster. What kind of prints are they? A refreshing 
> medley of scenes/themes going on there...
>
> The one with all the kids with bats and none with gloves reminds me of 
> my childhood baseball days. Everyone wants to be the big hitter. No 
> glories in the glove at that age. And it's hard for young arms to find 
> the plate with any consistency.
> Finnegan
>
>
> -----Original Message-----
> From: TheOldMole <Opus40-01 at opus40.org>
> Bcc: jforjames at aol.com
> Sent: Fri, 8 Feb 2008 11:43 pm
> Subject: [New-Poetry] Mole Update -- Art Exhibit
>
> For your invitation, http://opusforty.blogspot.com/ -- click to enlarge 
>  
> -- Tad Richards 
> http://www.opus40.org/tadrichards/ 
> http://opusforty.blogspot.com/ 
>  
> The moral is this: in American verse, 
> The better you are, the pay is worse. 
>  --Corey Ford 
>  
> _______________________________________________ 
> 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 
> ------------------------------------------------------------------------
> More new features than ever. Check out the new AOL Mail 
> <http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=aolcmp00050000000003>!
>
> ------------------------------------------------------------------------
>
> _______________________________________________
> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From jforjames at aol.com  Sun Feb 10 21:42:32 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Sun, 10 Feb 2008 21:42:32 -0500
Subject: [New-Poetry] Well put: Per Kirkeby
Message-ID: <8CA3A6EE2861559-1274-1DB0@webmail-de09.sysops.aol.com>


Poems are lumps?physical entities. This does not mean, of course, that they are not about something?the complete dependence of all the paths, the threads, time-space, History, the Social. And the more unrestrainedly the poet gives himself up to the materiality, the more precisely these lumps give off the quality of his conscious effort, of his opinions and ideas. Which is far more interesting than the opinions and ideas themselves?only physical submission shows how long the succession is, demonstrates their real drama. ?

?

Per Kirkeby, ?Painterly Poetry,? Selected Essays from Bravura, Van Abbemuseum, 1982 

http://ursprache.blogspot.com/

________________________________________________________________________
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From halvard at earthlink.net  Mon Feb 11 11:22:53 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Mon, 11 Feb 2008 10:22:53 -0600
Subject: [New-Poetry] Poetry meets the mainstream
Message-ID: <35995C03-DF7E-4A70-BA04-B49EBBFFD6A2@earthlink.net>

http://www.nytimes.com/2008/02/10/weekinreview/10murphy.html

"The nation without great poets will
  not have great politicians."
		--Saddam Hussein

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


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From anny.ballardini at tin.it  Mon Feb 11 15:20:08 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 11 Feb 2008 21:20:08 +0100
Subject: [New-Poetry] classical
Message-ID: <8B5F1C1AF2B1411FAF594EC5138AA736@AnnyPC>

As you know I am always looking for good online classical music, I have been enjoying this site for some hours:
http://www.xlnc1.org/whats.php

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! 
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From Opus40-01 at opus40.org  Mon Feb 11 15:29:46 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Mon, 11 Feb 2008 15:29:46 -0500
Subject: [New-Poetry] classical
In-Reply-To: <8B5F1C1AF2B1411FAF594EC5138AA736@AnnyPC>
References: <8B5F1C1AF2B1411FAF594EC5138AA736@AnnyPC>
Message-ID: <47B0B03A.6040606@opus40.org>

I've always liked /www.beethoven.com/ too.

Anny Ballardini wrote:
> As you know I am always looking for good online classical music, I 
> have been enjoying this site for some hours:
> http://www.xlnc1.org/whats.php
>  
> 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!
> ------------------------------------------------------------------------
>
> _______________________________________________
> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From rwilsnac at medicine.nodak.edu  Mon Feb 11 15:42:47 2008
From: rwilsnac at medicine.nodak.edu (Richard Wilsnack)
Date: Mon, 11 Feb 2008 14:42:47 -0600
Subject: [New-Poetry] classical
In-Reply-To: <47B0B03A.6040606@opus40.org>
References: <8B5F1C1AF2B1411FAF594EC5138AA736@AnnyPC>
	<47B0B03A.6040606@opus40.org>
Message-ID: <47B0B347.10708@medicine.nodak.edu>

TheOldMole wrote:
> I've always liked /www.beethoven.com/ too.
>
> Anny Ballardini wrote:
>> As you know I am always looking for good online classical music, I 
>> have been enjoying this site for some hours:
>> http://www.xlnc1.org/whats.php
For multiple station options, try

    http://classicalwebcast.com/usa.htm  .


Richard W. Wilsnack
rwilsnac at medicine.nodak.edu




From anny.ballardini at tin.it  Mon Feb 11 16:35:34 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 11 Feb 2008 22:35:34 +0100
Subject: [New-Poetry] classical
In-Reply-To: <47B0B347.10708@medicine.nodak.edu>
References: <8B5F1C1AF2B1411FAF594EC5138AA736@AnnyPC><47B0B03A.6040606@opus40.org>
	<47B0B347.10708@medicine.nodak.edu>
Message-ID: <1127FAE3F97D4C42960F9B77967E2FFB@AnnyPC>

Thank you Richard, that is usually from where I start to get to the link I 
previously sent.

From: "Richard Wilsnack" <rwilsnac at medicine.nodak.edu>
Sent: Monday, February 11, 2008 9:42 PM


> TheOldMole wrote:
>> I've always liked /www.beethoven.com/ too.
>>
>> Anny Ballardini wrote:
>>> As you know I am always looking for good online classical music, I have 
>>> been enjoying this site for some hours:
>>> http://www.xlnc1.org/whats.php
> For multiple station options, try
>
>    http://classicalwebcast.com/usa.htm  .
>
>
> Richard W. Wilsnack
> rwilsnac at medicine.nodak.edu
>




From jforjames at aol.com  Mon Feb 11 19:56:16 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 11 Feb 2008 19:56:16 -0500
Subject: [New-Poetry] classical
In-Reply-To: <47B0B03A.6040606@opus40.org>
References: <8B5F1C1AF2B1411FAF594EC5138AA736@AnnyPC>
	<47B0B03A.6040606@opus40.org>
Message-ID: <8CA3B2934D2849C-1684-B22@MBLK-M12.sysops.aol.com>



I've always liked /www.beethoven.com/ too.?
?

It may be a virtual world...but this station is based in where I live.
Finnegan


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From jforjames at aol.com  Mon Feb 11 20:09:44 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 11 Feb 2008 20:09:44 -0500
Subject: [New-Poetry] luv poems
Message-ID: <8CA3B2B1697B118-1684-BBD@MBLK-M12.sysops.aol.com>


http://www.csmonitor.com/2008/0212/p13s01-bogn.html


For most of the year, Ted Kooser is known as a Pulitzer Prize winner and former poet laureate of the United States. But in February he is a mass-mail Casanova. 




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From jforjames at aol.com  Mon Feb 11 20:17:13 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 11 Feb 2008 20:17:13 -0500
Subject: [New-Poetry] more love 
Message-ID: <8CA3B2C221597A1-1684-C16@MBLK-M12.sysops.aol.com>

http://www.guardian.co.uk/commentisfree/2008/feb/12/3
The heart of the matter
The lover often feels overwhelmed, but the poet understands the variables of romance
Jackie Kay The Guardian, Tuesday February 12 2008
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From jforjames at aol.com  Mon Feb 11 20:32:09 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 11 Feb 2008 20:32:09 -0500
Subject: [New-Poetry] more love 
In-Reply-To: <8CA3B2C221597A1-1684-C16@MBLK-M12.sysops.aol.com>
References: <8CA3B2C221597A1-1684-C16@MBLK-M12.sysops.aol.com>
Message-ID: <8CA3B2E38550D16-1684-CE1@MBLK-M12.sysops.aol.com>

I call for an ephemeral anthology of love poems. I was lying awake at 3 in the morning the other night, I don't know why, and I happened to pick up Kevin Hart's Flame Tree (Selected, Bloodaxe 2002): A nice long?love lyric sequence in that book called "Nineteen Songs." I'll post a couple segments.

Finnegan

-----Original Message-----
From: jforjames at aol.com
To: new-poetry at wiz.cath.vt.edu
Sent: Mon, 11 Feb 2008 8:17 pm
Subject: [New-Poetry] more love 


http://www.guardian.co.uk/commentisfree/2008/feb/12/3
The heart of the matter
The lover often feels overwhelmed, but the poet understands the variables of romance
Jackie Kay The Guardian, Tuesday February 12 2008 
More new features than ever. Check out the new 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 amyhappens at yahoo.com  Tue Feb 12 10:07:05 2008
From: amyhappens at yahoo.com (amy king)
Date: Tue, 12 Feb 2008 07:07:05 -0800 (PST)
Subject: [New-Poetry] POET'S BOOKSHELF II
In-Reply-To: <006b01c86d34$61c18aa0$016fa8c0@johnbedroom>
Message-ID: <326445.71970.qm@web83309.mail.sp1.yahoo.com>

< http://web.mac.com/tomkoontz/Site_2/Poets_Bookshelf_II.html >


POET'S BOOKSHELF II


101 poets list books that have been especially important in their artistic development, and offer commentary.


 Sandra Alcosser  *  Jack Anderson  *  Philip Appleman   *   Ivan Arg?elles   *    Mary Jo  Bang   *  Luis Ben?tez  *  Robert Bly  *   Amy King    * Daniel Bourne   * Andrea Hollander Budy   * Mair?ad Byrne  *  Nick Carb?    * Maxine Chernoff   *  Tom Clark *   Joshua Clover *   Andrei Codrescu    *     Shanna Compton   * Stephen Corey  *  Alfred Corn   * Barbara Crooker   *  Catherine Daly   *  Linh Dinh   *  Edward Field  *  Forrest Gander  * Sandra Gilbert  *  Diane Glancy  *  Kenneth Goldsmith *   Noah Eli Gordon * Stephen Herz   * H. L. Hix  *  Anselm  Hollo   * Janet Holmes    * Kent Johnson   * Marilyn Kallet  *  Ilya Kaminsky  *  Robert Kelly  * Jennifer L. Knox  *  Ted Kooser  *  Greg Kuzma  *    Ben Lerner   * Haki R. Madhubuti  *  David Mason  *  Gail Mazur  *  Joyelle McSweeney  *  Robert Mezey  *  Leslie Adrienne Miller   * Roger Mitchell    * K. Silem Mohammed  *  William Mohr  *  Carol Moldaw  *  Jennifer Moxley    * Lisel Mueller  *  Eileen Myles  *  Charles
 North  *  Jena Osman    * Kate Northrop *   Mwatabu Okantah  *  Carole Simmons Oles    * Alicia Ostriker  *  Linda Pastan  *  Simon Perchik *   Bob Perelman    * Roger Pfingston  *  Marge Piercy *   Katha Pollitt *   David   Ray    * Judy Ray   * Alberto R?os    *  Jane Robinson  *  Robert Ronnow   * Jerome Rothenberg  *  Jerome Sala *    Dennis Schmitz  *  Grace Schulman   * Lloyd Schwartz *   Purvi Shah   * David Shapiro *   Reginald Shepherd   * Dale Smith   * Thomas R. Smith  *  Kevin Stein  *  Carolyn Stoloff   * Eileen Tabios  *  Thom Tammaro  *  Tony Tost  *   Diane Wakoski   *     Diane Ward  *  Barrett Watten *   Miller Williams *  A. D. Winans   * Mark Wisniewski    *  Carolyne Wright *  Rane Arroyo   * Martha Collins   * James Cushing  * Cathy Park Hong   *  Marianne Boruch  *   Ellen Bass    * Robert Gibb   * Judith Moffett *   Aimee Nezhukumatathil    * 
 380 pages    Retail $19.95.                                                 ISBN 9780935306-53-8 
 
 Direct order by individuals from this site:  $17.95 includes postage


< http://web.mac.com/tomkoontz/Site_2/Poets_Bookshelf_II.html >


Amy

http://amyking.org/blog/   <http://amyking.org/blog/>





 
       
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From anny.ballardini at tin.it  Tue Feb 12 14:45:49 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Tue, 12 Feb 2008 20:45:49 +0100
Subject: [New-Poetry] different languages
Message-ID: <04D92E3F2CF2408289006DED71B370E1@AnnyPC>

Not that I find this particularly useful or graceful, I might see some stubborness in trying to gather all these languages together. The effort is not attributable to only one Author, probably the fruit of a long collaboration:


Afrikaans - Ek het jou lief 
Albanian - Te dua 
Arabic - Ana behibak (to male) 
Arabic - Ana behibek (to female) 
Armenian - Yes kez sirumen 
Bambara - M'bi fe 
Bangla - Aamee tuma ke bhalo baashi 
Belarusian - Ya tabe kahayu 
Bisaya - Nahigugma ako kanimo 
Bulgarian - Obicham te 
Cambodian - Bung Srorlagn Oun (to female)
Oun Srorlagn Bung (to male) 
Cantonese/Chinese Ngo oiy ney a 
Catalan - T'estimo 
Cheyenne - Ne mohotatse 
Chichewa - Ndimakukonda 
Corsican - Ti tengu caru (to male) 
Creol - Mi aime jou 
Croatian - Volim te 
Czech - Miluji te 
Danish - Jeg Elsker Dig 
Dutch - Ik hou van jou 
English - I love you 
Esperanto - Mi amas vin 
Estonian - Ma armastan sind 
Ethiopian - Ewedishalehu : male/female to female 
Ewedihalehu: male/female to male. 
Faroese - Eg elski teg 
Farsi - Doset daram 
Filipino - Mahal kita 
Finnish - Mina rakastan sinua 
French - Je t'aime, Je t'adore 
Gaelic - Ta gra agam ort 
Georgian - Mikvarhar 
German - Ich liebe dich 
Greek - S'agapo 
Gujarati - Hu tumney prem karu chu 
Hiligaynon - Palangga ko ikaw 
Hawaiian - Aloha wau ia oi 
Hebrew - Ani ohev otah (to female) 
Hebrew - Ani ohev et otha (to male) 
Hiligaynon - Guina higugma ko ikaw 
Hindi - Hum Tumhe Pyar Karte hai 
Hmong - Kuv hlub koj 
Hopi - Nu' umi unangwa'ta 
Hungarian - Szeretlek 
Icelandic - Eg elska tig 
Ilonggo - Palangga ko ikaw 
Indonesian - Saya cinta padamu 
Inuit - Negligevapse 
Irish - Taim i' ngra leat 
Italian - Ti amo 
Japanese - Aishiteru 
Kannada - Naa ninna preetisuve 
Kapampangan - Kaluguran daka 
Kiswahili - Nakupenda 
Konkani - Tu magel moga cho 
Korean - Sarang Heyo 
Latin - Te amo 
Latvian - Es tevi miilu 
Lebanese - Bahi bak 
Lithuanian - Tave myliu 
Macedonian Te Sakam 
Malay - Saya cintakan mu / Aku cinta padamu 
Malayalam - Njan Ninne Premikunnu 
Maltese - Inhobbok 
Mandarin Chinese - Wo ai ni 
Marathi - Me tula prem karto 
Mohawk - Kanbhik 
Moroccan - Ana moajaba bik 
Nahuatl - Ni mits neki 
Navaho - Ayor anosh'ni 
Nepali - Ma Timilai Maya Garchhu 
Norwegian - Jeg Elsker Deg 
Pandacan - Syota na kita!! 
Pangasinan - Inaru Taka 
Papiamento - Mi ta stimabo 
Persian - Doo-set daaram 
Pig Latin - Iay ovlay ouyay 
Polish - Kocham Cie 
Portuguese - Eu te amo 
Romanian - Te ubesc 
Russian - Ya tebya liubliu 
Rwanda - Ndagukunda 
Scot Gaelic - Tha gra\dh agam ort 
Serbian - Volim te 
Setswana - Ke a go rata 
Sindhi - Maa tokhe pyar kendo ahyan 
Sioux - Techihhila 
Slovak - Lu`bim ta 
Slovenian - Ljubim te 
Spanish - Te quiero / Te amo 
Surinam- Mi lobi joe 
Swahili - Ninapenda wewe 
Swedish - Jag alskar dig 
Swiss-German - Ich lieb Di 
Tajik Man turo Dust Doram 
Tagalog - Mahal kita 
Taiwanese - Wa ga ei li 
Tahitian - Ua Here Vau Ia Oe 
Tamil - Naan unnai kathalikiraen 
Telugu - Nenu ninnu premistunnanu 
Thai - Chan rak khun (to male) 
Thai - Phom rak khun (to female) 
Turkish - Seni Seviyorum 
Ukrainian - Ya tebe kahayu 
Urdu - mai aap say pyaar karta hoo 
Vietnamese - Anh ye^u em (to female) 
Vietnamese - Em ye^u anh (to male) 
Welsh - 'Rwy'n dy garu 
Yiddish - Ikh hob dikh 
Yoruba - Mo ni fe 
Zimbabwe - Ndinokuda 


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

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! 
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From jforjames at aol.com  Tue Feb 12 17:41:51 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 12 Feb 2008 17:41:51 -0500
Subject: [New-Poetry] new Howl found
Message-ID: <8CA3BDF981CAF69-4A4-982@WEBMAIL-DF08.sysops.aol.com>


http://chronicle.com/news/article/3939/reed-college-howls-with-landmark-recording-by-beat-poet 
?February 12, 2008
Reed College Howls With Landmark Recording by Beat Poet


Reed College?s archives have turned up a true gem of 20th-century poetry history, a high-quality recording of Allen Ginsberg reading his epochal long poem, ?Howl,? that was taped a few months before it was published and became the subject of a landmark obscenity trial.


The recording was made on reel-to-reel tape in front of a group of students in a Reed dormitory lounge in February 1956, during Ginsberg?s visit to the college on a hitchhiking trip with a fellow poet, Gary Snyder, a 1951 Reed graduate.


Mark Kuestner, a special-collections librarian at Reed, and John Suiter, a Boston-based literary scholar, discovered the tape last summer in Reed?s archives while Mr. Suiter was preparing a biography of Mr. Snyder, who is an emeritus professor of English at the University of California at Davis. Ginsberg died in 1997.


Mr. Suiter reports in an article to appear in Reed?s alumni magazine that it is the earliest known recording of Ginsberg reading parts of the seminal Beat Generation work. Details of what he says in introducing his work were reported today in The Oregonian.


Samples of the recording are scheduled to be played on Wednesday, the 51st anniversary of Ginsberg?s visit to Reed, at an event on the campus. The whole 35-minute recording, which includes large parts of ?Howl? along with seven other poems, will be posted Friday on the college?s Web site. ?Peter Monaghan


Posted on Tuesday February 12, 2008 | Permalink | 
?


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From jforjames at aol.com  Tue Feb 12 17:48:17 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 12 Feb 2008 17:48:17 -0500
Subject: [New-Poetry] WorldPo: Korea's Lee Sang-hwa
Message-ID: <8CA3BE07E14E275-4A4-9DD@WEBMAIL-DF08.sysops.aol.com>


http://www.koreatimes.co.kr/www/news/opinon/2008/02/137_18776.html

Lee Sang-hwa's Poetry 
?
By Choe Chong-dae 

During my recent visit to Daegu, I paid tribute to the monument that was erected in memory of the poet Lee Sang-hwa at Dalseong Park. 


It was the first to be erected among the memorials commemorating literary achievement in 1948. 
Throughout the centennial history of Korean modern literature, Lee Sang-hwa (1901-1943) has stood out as one of the most influential national and patriotic poet. 


He participated in the ``Samil Independence Movement'' of March 1, 1919 in Daegu to seek the restoration of Korean sovereignty against Japanese colonial rule. 


Born and raised in Daegu, he graduated from Jungdong High School in Seoul. He studied French literature in Japan and returned to Korea in 1922 where he taught English and French at Daeryun High School, Daegu.


Demonstrating great intelligence and literary talent from a young age, he debuted as a poet in the literary world by composing romantic poems such as ``The Minor'' and ``To My Bedroom (Madonna).'' 
The poems appeared in the magazine ``Baikjo'' in 1922. 


His reputation grew as a young promising poet after composing the poem entitled ``Does spring come to these stripped lands?'' in 1926, which was published in the 70th edition Magazine of ``Kaebyuk.''

?


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From jforjames at aol.com  Tue Feb 12 17:53:03 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 12 Feb 2008 17:53:03 -0500
Subject: [New-Poetry] Sleigh wins Tufts Award
Message-ID: <8CA3BE128E9050F-4A4-A27@WEBMAIL-DF08.sysops.aol.com>


http://www.cbc.ca/arts/books/story/2008/02/12/poetry-prize.html#skip300x250

U.S. prizes awarded for poetry, Civil War writing
Last Updated: Tuesday, February 12, 2008 | 12:20 PM ET 
CBC News 

Brooklyn-based poet Tom Sleigh has won the $100,000 US Kingsley Tufts Award, one of the world's largest prizes for poetry, for his collection Space Walk.


The prize, first awarded in 1993, is given to an emerging poet who has not yet received great fame or success.



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From amyhappens at yahoo.com  Tue Feb 12 17:55:51 2008
From: amyhappens at yahoo.com (amy king)
Date: Tue, 12 Feb 2008 14:55:51 -0800 (PST)
Subject: [New-Poetry] =?utf-8?q?Susana_Gardner=E2=80=99s_Guts_and_Gumptio?=
 =?utf-8?q?n_--_*_a_dusi/e-chap_kollektiv?=
Message-ID: <453348.15858.qm@web83314.mail.sp1.yahoo.com>



Two years ago, Susana Gardner tirelessly invited and organized poets
from all over the world to join the * a dusi/e-chap kollektiv.   Those chapbooks were also made available
online here:  [ http://www.dusie.org/contribpage.html
]



 



THIS YEAR?S efforts multiplied and are now available here [ http://www.dusie.org/ ], including chapbooks
by:



 



Susana Gardner 



Adam Fieled   



Tim Armentrout 



Anne Heide 



Drew Kunz 



Chris Pusateri 



Elisabeth Workman  



Amy King 



Hugh & Mary Behm-Steinberg    



Joseph Cooper 



Dana Ward



Catherine Daly



Wanda Phipps 



Giles Goodland 



Eileen Tabios 



Marco Giovenale 



Kaia Sand/Jules Boykoff 



Bronwen Tate 



Sheila e. Murphy 



Lance Newman 



Matina L. Stamatakis 



Nicole Mauro    



Carrie Hunter 



Ray Farr 



Sarah Mangold 



Simone Muench 



Bob Marcacci 



Michelle Detorie 



Paul Klinger    



Boyd Spahr 



Bill Allegrezza 



Logan
Ryan Smith 



Cheryl Quimba 



Robyn Art



Anne Boyer 



Lisa Janssen    



Alana Madison     



Tom Orange      



Jessica Bozek /Eli Queen   




Jen Hofer     



Marci Nelligan 



Kristy Bowen     



Sarah Anne & Paris
Cox   



Jill Stengel 



Shanna Compton     



John Deming     



Sawako Nakayasu     



K. Lorraine
Graham 



J. Scappettone     



David Berridge 



Mark Lamorueux



Wade Fletcher



Rick Snyder   



david-baptiste chirot



Samar Abulhassan 



jared hayes 



Jill Magi 



Mackenzie Carignan



Jane Sprague 



Jordan Stempleman 



 



All available here --- > 
http://www.dusie.org/ 



 



~~~~



 



Interested in reviewing any of these titles?  ?? please be sure to check out the Dusie
Review Blog, which is for chapbooks, ebooks and bookbooks alike. Request a book
to review, or do a write up of one of the easily accessible/ free e-chaps via
Dusie to critically review and publish on the Dusie blogsite [ http://www.dusie.blogspot.com/ ]? by
contacting the Dusie editor here: 
http://www.dusie.org/adusienote.html .



 



~~~~~



 



 



[* a dusi/e-chap kollektiv is a congregation of poets all of
whom have printed a limited edition of 50 chaps of their own design and
production under the auspices of Dusie and its first annual collective chap
press. The project aims to satisfy two aspects of publishing, the creative
small chap which one can easily distribute among peers and have for readings as
well as the fabulously viable and easily distributable to a wider readership as
an e-chap.]



 



Thanks Susana & each contributor!



 



Enjoy,



 



Amy



 
_______ 
Blog
 
http://www.amyking.org/blog







      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
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From AlMaginnes at aol.com  Tue Feb 12 20:06:11 2008
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Tue, 12 Feb 2008 20:06:11 EST
Subject: [New-Poetry] Sleigh wins Tufts Award
Message-ID: <cda.25aae153.34e39c83@aol.com>

happy for Tom who is a good poet and a good human being, but once again  this 
award goes to a poet whose book came out from a NY press, as almost every  
winner of this award for "emerging" poets has. The single exception I can think  
of is BH Fairchild's THE ART OF THE LATHE.



**************The year's hottest artists on the red carpet at the Grammy 
Awards. Go to AOL Music.      
(http://music.aol.com/grammys?NCID=aolcmp00300000002565)
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From jforjames at aol.com  Tue Feb 12 20:12:39 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 12 Feb 2008 20:12:39 -0500
Subject: [New-Poetry] POET'S BOOKSHELF II
In-Reply-To: <326445.71970.qm@web83309.mail.sp1.yahoo.com>
Message-ID: <8CA3BF4A95B0171-10F0-4EAA@webmail-me06.sysops.aol.com>


As in the Poet's Bookshelf I, the editor has really chosen a wide array of poets to query. The first volume was a fun browse.?Most of the poets named?other books of poetry as their?prime?influences, which I guess shouldn't be a? big surprise. I did wish a few more had ventured beyond the bounds of their 'home art' for their prime movers. The Bible was the most frequently named text (the Good Book keeps on giving), followed by Random House Book of 20th Century French Poetry (go figure), and New American Poetry (more expected). And then the?writers most named...

W. C. Williams (17)

Walt Whitman (16)

Emily Dickinson (16)

Frank O'Hara (12)

William Shakespeare (11)

Wm. Butler Yeats (11)
Wallace Steven (10)
dropping down into the single digits...

Rainer Maria Rilke (9)
John Ashbery (9)
Frederico Garcia Lorca (8)

Ezra Pound (8)
Elizabeth Bishop (8)
Sylvia Plath (8)
Hart Crane (7)
Allen Ginsberg (7)
James Wright (7)
Then lots of names with 6, 5, 4?or fewer mentions.

Finnegan



-----Original Message-----
From: amy king <amyhappens at yahoo.com>
To: new-poetry at wiz.cath.vt.edu
Sent: Tue, 12 Feb 2008 10:07 am
Subject: [New-Poetry] POET'S BOOKSHELF II




< http://web.mac.com/tomkoontz/Site_2/Poets_Bookshelf_II.html >



POET'S BOOKSHELF II



101 poets list books that have been especially important in their artistic development, and offer commentary.



Sandra Alcosser * Jack Anderson * Philip Appleman * Ivan Arg?elles * Mary Jo Bang * Luis Ben?tez * Robert Bly * Amy King * Daniel Bourne * Andrea Hollander Budy * Mair?ad Byrne * Nick Carb? * Maxine Chernoff * Tom Clark * Joshua Clover * Andrei Codrescu * Shanna Compton * Stephen Corey * Alfred Corn * Barbara Crooker * Catherine Daly * Linh Dinh * Edward Field * Forrest Gander * Sandra Gilbert * Diane Glancy * Kenneth Goldsmith * Noah Eli Gordon * Stephen Herz * H. L. Hix * Anselm Hollo * Janet Holmes * Kent Johnson * Marilyn Kallet * Ilya Kaminsky * Robert Kelly * Jennifer L. Knox * Ted Kooser * Greg Kuzma * Ben Lerner * Haki R. Madhubuti * David Mason * Gail Mazur * Joyelle McSweeney * Robert Mezey * Leslie Adrienne Miller * Roger Mitchell * K. Silem Mohammed * William Mohr * Carol Moldaw * Jennifer Moxley * Lisel Mueller * Eileen Myles * Charles North * Jena Osman * Kate Northrop * Mwatabu Okantah * Carole Simmons Oles * Alicia Ostriker * Linda Pastan * Simon Perchik * Bob Perelman * Roger Pfingston * Marge Piercy * Katha Pollitt * David Ray * Judy Ray * Alberto R?os * Jane Robinson * Robert Ronnow * Jerome Rothenberg * Jerome Sala * Dennis Schmitz * Grace Schulman * Lloyd Schwartz * Purvi Shah * David Shapiro * Reginald Shepherd * Dale Smith * Thomas R. Smith * Kevin Stein * Carolyn Stoloff * Eileen Tabios * Thom Tammaro * Tony Tost * Diane Wakoski * Diane Ward * Barrett Watten * Miller Williams * A. D. Winans * Mark Wisniewski * Carolyne Wright * Rane Arroyo * Martha Collins * James Cushing * Cathy Park Hong * Marianne Boruch * Ellen Bass * Robert Gibb * Judith Moffett * Aimee Nezhukumatathil * 

380 pages Retail $19.95. ISBN 9780935306-53-8 

Direct order by individuals from this site: $17.95 includes postage


< http://web.mac.com/tomkoontz/Site_2/Poets_Bookshelf_II.html >


Amy

http://amyking.org/blog/?? <http://amyking.org/blog/>;







Looking for last minute shopping deals? Find them fast with Yahoo! Search. 


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From jforjames at aol.com  Tue Feb 12 20:19:58 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 12 Feb 2008 20:19:58 -0500
Subject: [New-Poetry] POET'S BOOKSHELF II
In-Reply-To: <8CA3BF4A95B0171-10F0-4EAA@webmail-me06.sysops.aol.com>
Message-ID: <8CA3BF5AEEA9F3D-10F0-4EFB@webmail-me06.sysops.aol.com>

In the interest of full disclosure, I should say that the book has an index doing these tabulations. I didn't count 'em...


then the?writers most named...

W. C. Williams (17)

Walt Whitman (16)

Emily Dickinson (16)

Frank O'Hara (12)

William Shakespeare (11)

Wm. Butler Yeats (11)
Wallace Steven (10)
dropping down into the single digits...

Rainer Maria Rilke (9)
John Ashbery (9)
Frederico Garcia Lorca (8)

Ezra Pound (8)
Elizabeth Bishop (8)
Sylvia Plath (8)
Hart Crane (7)
Allen Ginsberg (7)
James Wright (7)
Then lots of names with 6, 5, 4?or fewer mentions.





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From jforjames at aol.com  Tue Feb 12 20:31:13 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 12 Feb 2008 20:31:13 -0500
Subject: [New-Poetry] luv poems
In-Reply-To: <8CA3B2B1697B118-1684-BBD@MBLK-M12.sysops.aol.com>
References: <8CA3B2B1697B118-1684-BBD@MBLK-M12.sysops.aol.com>
Message-ID: <8CA3BF7415833D4-10F0-4F84@webmail-me06.sysops.aol.com>


Without Definition


love 
that ocean for mad antelope
love 
that eye nailing my eye
on a star too drunk
love
that valise where toucans sleep
that look like us
love
that sun that protests
at being in exile under its own knees
love oblivion
and the famished words
gnawing that tangerine
our memory


--Alain Bosquet, Selected Poems (Ohio U. Press, 1972), 
translated by Wallace Fowlie 




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From bobgrumman at nut-n-but.net  Tue Feb 12 21:33:08 2008
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Tue, 12 Feb 2008 21:33:08 -0500
Subject: [New-Poetry] POET'S BOOKSHELF II
In-Reply-To: <8CA3BF4A95B0171-10F0-4EAA@webmail-me06.sysops.aol.com>
References: <8CA3BF4A95B0171-10F0-4EAA@webmail-me06.sysops.aol.com>
Message-ID: <47B256E4.6090608@nut-n-but.net>

How many books was each poet asked to name, James? 

jforjames at aol.com wrote:
> As in the Poet's Bookshelf I, the editor has really chosen a wide 
> array of poets to query.

Yeah, the amazing range of influences, most of them names I've never 
heard of, attests to that.

--Bob Predictable



From halvard at earthlink.net  Tue Feb 12 22:58:57 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Tue, 12 Feb 2008 21:58:57 -0600
Subject: [New-Poetry] POET'S BOOKSHELF II
In-Reply-To: <8CA3BF4A95B0171-10F0-4EAA@webmail-me06.sysops.aol.com>
References: <8CA3BF4A95B0171-10F0-4EAA@webmail-me06.sysops.aol.com>
Message-ID: <3E67E816-50B2-449B-824C-0E876FCC4792@earthlink.net>

The Random House Book of 20th Century French Poetry
is a *great* collection. It would be on my list.

Hal

"I would horsewhip you if I had a horse."
			--Groucho Marx

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 Feb 12, 2008, at 7:12 PM, JforJames at aol.com wrote:

> As in the Poet's Bookshelf I, the editor has really chosen a wide  
> array of poets to query. The first volume was a fun browse. Most of  
> the poets named other books of poetry as their prime influences,  
> which I guess shouldn't be a  big surprise. I did wish a few more  
> had ventured beyond the bounds of their 'home art' for their prime  
> movers. The Bible was the most frequently named text (the Good Book  
> keeps on giving), followed by Random House Book of 20th Century  
> French Poetry (go figure), and New American Poetry (more expected).  
> And then the writers most named...
> W. C. Williams (17)
> Walt Whitman (16)
> Emily Dickinson (16)
> Frank O'Hara (12)
> William Shakespeare (11)
> Wm. Butler Yeats (11)
> Wallace Steven (10)
> dropping down into the single digits...
> Rainer Maria Rilke (9)
> John Ashbery (9)
> Frederico Garcia Lorca (8)
> Ezra Pound (8)
> Elizabeth Bishop (8)
> Sylvia Plath (8)
> Hart Crane (7)
> Allen Ginsberg (7)
> James Wright (7)
> Then lots of names with 6, 5, 4 or fewer mentions.
>
> Finnegan
>
>
> -----Original Message-----
> From: amy king <amyhappens at yahoo.com>
> To: new-poetry at wiz.cath.vt.edu
> Sent: Tue, 12 Feb 2008 10:07 am
> Subject: [New-Poetry] POET'S BOOKSHELF II
>
> < http://web.mac.com/tomkoontz/Site_2/Poets_Bookshelf_II.html >
>
> POET'S BOOKSHELF II
>
> 101 poets list books that have been especially important in their  
> artistic development, and offer commentary.
>
> Sandra Alcosser * Jack Anderson * Philip Appleman * Ivan Arg?elles *  
> Mary Jo Bang * Luis Ben?tez * Robert Bly * Amy King * Daniel Bourne  
> * Andrea Hollander Budy * Mair?ad Byrne * Nick Carb? * Maxine  
> Chernoff * Tom Clark * Joshua Clover * Andrei Codrescu * Shanna  
> Compton * Stephen Corey * Alfred Corn * Barbara Crooker * Catherine  
> Daly * Linh Dinh * Edward Field * Forrest Gander * Sandra Gilbert *  
> Diane Glancy * Kenneth Goldsmith * Noah Eli Gordon * Stephen Herz *  
> H. L. Hix * Anselm Hollo * Janet Holmes * Kent Johnson * Marilyn  
> Kallet * Ilya Kaminsky * Robert Kelly * Jennifer L. Knox * Ted  
> Kooser * Greg Kuzma * Ben Lerner * Haki R. Madhubuti * David Mason *  
> Gail Mazur * Joyelle McSweeney * Robert Mezey * Leslie Adrienne  
> Miller * Roger Mitchell * K. Silem Mohammed * William Mohr * Carol  
> Moldaw * Jennifer Moxley * Lisel Mueller * Eileen Myles * Charles  
> North * Jena Osman * Kate Northrop * Mwatabu Okantah * Carole  
> Simmons Oles * Alicia Ostriker * Linda Pastan * Simon Perchik * Bob  
> Perelman * Roger Pfingston * Marge Piercy * Katha Pollitt * David  
> Ray * Judy Ray * Alberto R?os * Jane Robinson * Robert Ronnow *  
> Jerome Rothenberg * Jerome Sala * Dennis Schmitz * Grace Schulman *  
> Lloyd Schwartz * Purvi Shah * David Shapiro * Reginald Shepherd *  
> Dale Smith * Thomas R. Smith * Kevin Stein * Carolyn Stoloff *  
> Eileen Tabios * Thom Tammaro * Tony Tost * Diane Wakoski * Diane  
> Ward * Barrett Watten * Miller Williams * A. D. Winans * Mark  
> Wisniewski * Carolyne Wright * Rane Arroyo * Martha Collins * James  
> Cushing * Cathy Park Hong * Marianne Boruch * Ellen Bass * Robert  
> Gibb * Judith Moffett * Aimee Nezhukumatathil *
> 380 pages Retail $19.95. ISBN 9780935306-53-8
>
> Direct order by individuals from this site: $17.95 includes postage
>
>
> < http://web.mac.com/tomkoontz/Site_2/Poets_Bookshelf_II.html >
>
>
> Amy
>
> http://amyking.org/blog/   <http://amyking.org/blog/>;
>
>
>
>
>
> Looking for last minute shopping deals? Find them fast with Yahoo!  
> Search.
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
> More new features than ever. Check out the new 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 jforjames at aol.com  Tue Feb 12 23:31:21 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 12 Feb 2008 23:31:21 -0500
Subject: [New-Poetry] POET'S BOOKSHELF II
In-Reply-To: <3E67E816-50B2-449B-824C-0E876FCC4792@earthlink.net>
References: <8CA3BF4A95B0171-10F0-4EAA@webmail-me06.sysops.aol.com>
	<3E67E816-50B2-449B-824C-0E876FCC4792@earthlink.net>
Message-ID: <8CA3C106B48F2AC-980-12C2@webmail-mf09.sysops.aol.com>

It's a good anthology, agreed...but I find it odd?that it comes in?second to the Bible?even in a somewhat haphazard survey of poets and the books that most influenced them.
Finnegan


-----Original Message-----
From: Halvard Johnson <halvard at earthlink.net>
Bcc: jforjames at aol.com
Sent: Tue, 12 Feb 2008 10:58 pm
Subject: Re: [New-Poetry] POET'S BOOKSHELF II


The Random House Book of 20th Century French Poetry
is a *great* collection. It would be on my list.




Hal





"I would horsewhip you if I had a horse."

--Groucho Marx




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 Feb 12, 2008, at 7:12 PM, JforJames at aol.com wrote:



As in the Poet's Bookshelf I, the editor has really chosen a wide array of poets to query. The first volume was a fun browse.?Most of the poets named?other books of poetry as their?prime?influences, which I guess shouldn't be a? big surprise. I did wish a few more had ventured beyond the bounds of their 'home art' for their prime movers. The Bible was the most frequently named text (the Good Book keeps on giving), followed by Random House Book of 20th Century French Poetry (go figure), and New American Poetry (more expected). And then the?writers most named...

W. C. Williams (17)

Walt Whitman (16)

Emily Dickinson (16)

Frank O'Hara (12)

William Shakespeare (11)

Wm. Butler Yeats (11)
Wallace Steven (10)
dropping down into the single digits...

Rainer Maria Rilke (9)
John Ashbery (9)
Frederico Garcia Lorca (8)

Ezra Pound (8)
Elizabeth Bishop (8)
Sylvia Plath (8)
Hart Crane (7)
Allen Ginsberg (7)
James Wright (7)
Then lots of names with 6, 5, 4?or fewer mentions.

Finnegan



-----Original Message-----
From: amy king <amyhappens at yahoo.com>
To: new-poetry at wiz.cath.vt.edu
Sent: Tue, 12 Feb 2008 10:07 am
Subject: [New-Poetry] POET'S BOOKSHELF II




< http://web.mac.com/tomkoontz/Site_2/Poets_Bookshelf_II.html >



POET'S BOOKSHELF II



101 poets list books that have been especially important in their artistic development, and offer commentary.



Sandra Alcosser * Jack Anderson * Philip Appleman * Ivan Arg?elles * Mary Jo Bang * Luis Ben?tez * Robert Bly * Amy King * Daniel Bourne * Andrea Hollander Budy * Mair?ad Byrne * Nick Carb? * Maxine Chernoff * Tom Clark * Joshua Clover * Andrei Codrescu * Shanna Compton * Stephen Corey * Alfred Corn * Barbara Crooker * Catherine Daly * Linh Dinh * Edward Field * Forrest Gander * Sandra Gilbert * Diane Glancy * Kenneth Goldsmith * Noah Eli Gordon * Stephen Herz * H. L. Hix * Anselm Hollo * Janet Holmes * Kent Johnson * Marilyn Kallet * Ilya Kaminsky * Robert Kelly * Jennifer L. Knox * Ted Kooser * Greg Kuzma * Ben Lerner * Haki R. Madhubuti * David Mason * Gail Mazur * Joyelle McSweeney * Robert Mezey * Leslie Adrienne Miller * Roger Mitchell * K. Silem Mohammed * William Mohr * Carol Moldaw * Jennifer Moxley * Lisel Mueller * Eileen Myles * Charles North * Jena Osman * Kate Northrop * Mwatabu Okantah * Carole Simmons Oles * Alicia Ostriker * Linda Pastan * Simon Perchik * Bob Perelman * Roger Pfingston * Marge Piercy * Katha Pollitt * David Ray * Judy Ray * Alberto R?os * Jane Robinson * Robert Ronnow * Jerome Rothenberg * Jerome Sala * Dennis Schmitz * Grace Schulman * Lloyd Schwartz * Purvi Shah * David Shapiro * Reginald Shepherd * Dale Smith * Thomas R. Smith * Kevin Stein * Carolyn Stoloff * Eileen Tabios * Thom Tammaro * Tony Tost * Diane Wakoski * Diane Ward * Barrett Watten * Miller Williams * A. D. Winans * Mark Wisniewski * Carolyne Wright * Rane Arroyo * Martha Collins * James Cushing * Cathy Park Hong * Marianne Boruch * Ellen Bass * Robert Gibb * Judith Moffett * Aimee Nezhukumatathil * 

380 pages Retail $19.95. ISBN 9780935306-53-8 

Direct order by individuals from this site: $17.95 includes postage


< http://web.mac.com/tomkoontz/Site_2/Poets_Bookshelf_II.html >


Amy

http://amyking.org/blog/?? <http://amyking.org/blog/>;






Looking for last minute shopping deals? Find them fast with Yahoo! Search. 


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


More new features than ever. Check out the new AOL Mail!

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= 


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From jforjames at aol.com  Tue Feb 12 23:41:31 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 12 Feb 2008 23:41:31 -0500
Subject: [New-Poetry] POET'S BOOKSHELF II
In-Reply-To: <47B256E4.6090608@nut-n-but.net>
References: <8CA3BF4A95B0171-10F0-4EAA@webmail-me06.sysops.aol.com>
	<47B256E4.6090608@nut-n-but.net>
Message-ID: <8CA3C11D6C423CC-980-12F0@webmail-mf09.sysops.aol.com>


I don't know if the rules changed for the # II edition. In the first version?the poets were asked to choose 5-10 books "that were most 'essential'?to you as a poet." And then they were asked to comment on their selections. Some (like Charles Bernstein, surprise surprise) had trouble staying?within the contraint of 10.


The list of poets asked to contribute was fairly?wide, I thought. But I'd have to agree with you that there were not a whole lot of surprises when it came to the books/authors they listed. It didn't immediately send me off to a?major library or to Amazon.

Finnegan


-----Original Message-----
From: Bob Grumman <bobgrumman at nut-n-but.net>
Bcc: jforjames at aol.com
Sent: Tue, 12 Feb 2008 9:33 pm
Subject: Re: [New-Poetry] POET'S BOOKSHELF II



How many books was each poet asked to name, James? ?
jforjames at aol.com wrote:?
> As in the Poet's Bookshelf I, the editor has really chosen a wide > array of poets to query.?
?
Yeah, the amazing range of influences, most of them names I've never heard of, attests to that.?
?
--Bob Predictable?
?
_______________________________________________?
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  Tue Feb 12 23:46:20 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 12 Feb 2008 23:46:20 -0500
Subject: [New-Poetry] Frost's scrawl
In-Reply-To: <8CA3C11D6C423CC-980-12F0@webmail-mf09.sysops.aol.com>
References: <8CA3BF4A95B0171-10F0-4EAA@webmail-me06.sysops.aol.com>	<47B256E4.6090608@nut-n-but.net>
	<8CA3C11D6C423CC-980-12F0@webmail-mf09.sysops.aol.com>
Message-ID: <8CA3C1282FD519E-17D0-19D9@webmail-de13.sysops.aol.com>


http://www.slate.com/id/2183903/pagenum/all

last month, charges were raised against a scholarly edition of Frost's private notebooks. The work, first published in early 2007, had been heralded as offering a rare glimpse into the reclusive poet's creative process. But now the notebook transcriptions appear to be riddled with errors that made Frost look like "a dyslexic and deranged speller," who often "made no sense," according to poet William Logan, a professor at the University of Florida who compared sections of the published version with manuscript originals from the archives at Dartmouth College. 
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From grahamd at ripon.edu  Wed Feb 13 01:02:13 2008
From: grahamd at ripon.edu (David Graham)
Date: Wed, 13 Feb 2008 00:02:13 -0600
Subject: [New-Poetry] Poet of the week
Message-ID: <FF2A600F-8C4E-46E1-A6CF-DB31FB1BB47B@ripon.edu>

Kate Sontag, over at Ed Byrne's "One Poet's Notes."

http://edwardbyrne.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 Feb 13 05:57:37 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 13 Feb 2008 11:57:37 +0100
Subject: [New-Poetry] valentine
Message-ID: <1E50D4B91772442897BDB0F744DED37F@AnnyPC>

Copying and pasting from a mail sent by R.S. Gwynn to the wompo:

Prospice

Fear death?-to feel the fog in my throat,
The mist in my face,
When the snows begin, and the blasts denote
I am nearing the place,
The power of the night, the press of the storm,
The post of the foe;
Where he stands, the Arch Fear in a visible form,
Yet the strong man must go:
For the journey is done and the summit attained,
And the barriers fall,
Though a battle's to fight ere the guerdon be gained,
The reward of it all.
I was ever a fighter, so-one fight more,
The best and the last!
I would hate that death bandaged my eyes, and forbore,
And bade me creep past.
No! let me taste the whole of it, fare like my peers
The heroes of old,
Bear the brunt, in a minute pay glad life's arrears
Of pain, darkness and cold.
For sudden the worst turns the best to the brave,
The black minute's at end,
And the elements' rage, the fiend-voices that rave,
Shall dwindle, shall blend,
Shall change, shall become first a peace out of pain,
Then a light, then thy breast,
O thou soul of my soul! I shall clasp thee again,
And with God be the rest!

               --Robert Browning, 1861



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

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! 
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From skip at louisiana.edu  Wed Feb 13 11:25:59 2008
From: skip at louisiana.edu (Skip Fox)
Date: Wed, 13 Feb 2008 10:25:59 -0600
Subject: [New-Poetry] The theasauragram.
In-Reply-To: <3E67E816-50B2-449B-824C-0E876FCC4792@earthlink.net>
Message-ID: <006001c86e5d$2462ae80$f4954682@win.louisiana.edu>

The Florid Cycle Drum 

 

such like significance rests

atop

 

a florid cycle 

drum 

 

buffed by splatter

melt

 

on the flank of albino

poultry.

 

 

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From grahamd at ripon.edu  Wed Feb 13 11:49:06 2008
From: grahamd at ripon.edu (David Graham)
Date: Wed, 13 Feb 2008 10:49:06 -0600
Subject: [New-Poetry] The theasauragram.
In-Reply-To: <006001c86e5d$2462ae80$f4954682@win.louisiana.edu>
References: <006001c86e5d$2462ae80$f4954682@win.louisiana.edu>
Message-ID: <BF095AD1-1913-4B8A-AE7E-0780F6EBADD1@ripon.edu>

I always give my students Donald Hall's version:



The Crimson-Hued Conveyance

Such an extraordinary degree of importance
is attached

to a crimson-hued conveyance
for waste material

which has accumulated particles of liquid
emanating from the heavens

in the approximate vicinity
of the albino poultry.

[fr. *Goatfoot Milktongue Twinbird*]




========================================
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 Feb 13, 2008, at 10:25 AM, Skip Fox wrote:

>
> The Florid Cycle Drum
>
>
> such like significance rests
>
> atop
>
>
> a florid cycle
>
> drum
>
>
> buffed by splatter
>
> melt
>
>
> on the flank of albino
>
> poultry.
>
>
>
> _______________________________________________
> 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  Wed Feb 13 12:13:09 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 13 Feb 2008 12:13:09 -0500
Subject: [New-Poetry] NewPoetry List is 7
Message-ID: <8CA3C7AD7161705-E58-8F6@WEBMAIL-DB01.sysops.aol.com>


Yesterday I believe was the 7th Anniversary of this list, founded in February 2001.

I'd like to thank all the members for keeping the list going; keeping it?flame-free and friendly.

I'm looking to 'hire' a couple more 'contributing correspondents'. It's not a paid gig, of course,
but your duties are light: Post at least one item of interest per week... 
David, Tad, Anny, Hal, Jim C, all get their bonuses this year for participation. 

Suggestions, ideas, always welcome. Anything you think would make the list better. Front or backchannel.
(But I'm not resigning...so forget about that.)

Please pass this note on to others who might be interested in joining the list. We don't really need
to grow our numbers, but having a few new virtual voices chiming in is a good thing, I think.

For Info and to Subscribe to New-Poetry, go here...
http://wiz.cath.vt.edu/mailman/listinfo/new-poetry

Thanks,
Jim Finnegan
List Tyrant for Life





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From cervantes.james at gmail.com  Wed Feb 13 12:26:33 2008
From: cervantes.james at gmail.com (James Cervantes)
Date: Wed, 13 Feb 2008 10:26:33 -0700
Subject: [New-Poetry] NewPoetry List is 7
In-Reply-To: <8CA3C7AD7161705-E58-8F6@WEBMAIL-DB01.sysops.aol.com>
References: <8CA3C7AD7161705-E58-8F6@WEBMAIL-DB01.sysops.aol.com>
Message-ID: <648208b60802130926w36e2528bs5379978957046ed3@mail.gmail.com>

Happy 7th!

My contributions are scant and I appreciate the participation of all
those named below (cept me, of course).

A la poetics list, below is notice of an upcoming event that might be
of interest to anyone frequenting this area around then:

Copper Star Coffee poetry series
3rd Wednesday of the month at 4220 North 7th Avenue, Phoenix from 7 to 9 pm

February 20th
Jed Allen

Jed Allen was born on the road between Heaven and Hell and walks there still.
His writing has appeared in numerous journals and in Fever Dreams:
contemporary Arizona poets (U. of Arizona, 1997).  He has raised
goats, worked as a janitor, cut and sold firewood door-to-door, made
adobes, and is an improvisatory pianist  who worked for a decade in
the Phoenix blues scene.  He teaches general writing classes at
Phoenix College.  He has written across his back: Somos todos
ilegales.

James Cervantes

James Cervantes' fourth book of poetry, Temporary Meaning, was
nominated for a Los Angeles Times book award in poetry in 2007. His
poems have appeared most recently in Laurel Review, The Boston Review,
North American Review and Merge.  Cervantes, also editor of The Salt
River Review, now divides his time between Arizona and San Miguel de
Allende.

On 2/13/08, jforjames at aol.com <jforjames at aol.com> wrote:
>
> Yesterday I believe was the 7th Anniversary of this list, founded in
> February 2001.
>
>  I'd like to thank all the members for keeping the list going; keeping
> it flame-free and friendly.
>
>  I'm looking to 'hire' a couple more 'contributing correspondents'. It's not
> a paid gig, of course,
>  but your duties are light: Post at least one item of interest per week...
>  David, Tad, Anny, Hal, Jim C, all get their bonuses this year for
> participation.
>
>  Suggestions, ideas, always welcome. Anything you think would make the list
> better. Front or backchannel.
>  (But I'm not resigning...so forget about that.)
>
>  Please pass this note on to others who might be interested in joining the
> list. We don't really need
>  to grow our numbers, but having a few new virtual voices chiming in is a
> good thing, I think.
>
>  For Info and to Subscribe to New-Poetry, go here...
>  http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>  Thanks,
>  Jim Finnegan
>  List Tyrant for Life
>
>
>
>
>  ________________________________
>  More new features than ever. Check out the new 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://www.flickr.com/photos/12364573 at N08/


From jforjames at aol.com  Wed Feb 13 12:28:00 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 13 Feb 2008 12:28:00 -0500
Subject: [New-Poetry] litmag watch: Bird Dog
Message-ID: <8CA3C7CEA26008F-E58-A4D@WEBMAIL-DB01.sysops.aol.com>


http://www.birddogmagazine.com
Date:???????? Tue, 12 Feb 2008 21:42:09 -0800
From:???????? Sarah Mangold
Subject:????? Introducing Bird Dog, Number Nine


Sporty and devoted, the Bird Dog has a surprisingly loud bark for its 
size. Easily recognized by a distinctive orange coat, it needs plenty 
of exercise and does best in an environment where it has space to roam 
freely.

This is Bird Dog, Number Nine:

Julia Cohen
Daniel Comiskey
Sarah Anne Cox
Jordan Davis
Shira Dentz
Michelle Detorie
Kate Eichhorn
Nava Fader
Garth Graeper
Terita Heath-Wlaz
Brian Henry
Robert Mittenthal
John Olson
Sharon Lynn Osmond
Jessea Perry
Andrea Rexilius
Judith Roitman
Sandra Simonds
Stephanie Strickland
Mathias Svalina
Eileen R. Tabios
C. McAllister Williams
Paintings from Nita Hill
Plus, Sharon Lynn Osmond reviews Valerie Coulton?s The Cellar Dreamer & 
John Olson reviews Rosmarie Waldrop?s Curves to the Apple and Claude 
Royet-Journoud?s theory of prepositions


Single issues $8 postage paid. Subscriptions $15. PayPal or check:? 
www.birddogmagazine.com



________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From skip at louisiana.edu  Wed Feb 13 13:03:19 2008
From: skip at louisiana.edu (Skip Fox)
Date: Wed, 13 Feb 2008 12:03:19 -0600
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <BF095AD1-1913-4B8A-AE7E-0780F6EBADD1@ripon.edu>
Message-ID: <001101c86e6a$bcdce100$f4954682@win.louisiana.edu>

Very nice! I didn't know of this. Mine was actually 95% made from the
Thesaurus. Nice we both picked "albino poultry." His the more polished and
"exact."

 

There are no thesaurus terms for articles, I realized. You could use "one"
for "a," etc. but these were not indexed in the thesaurus I used.

 

-----Original Message-----
From: new-poetry-bounces at wiz.cath.vt.edu
[mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of David Graham
Sent: Wednesday, February 13, 2008 10:49 AM
To: NewPoetry: Contemporary Poetry News &amp;Views
Subject: [New-Poetry] The theasauragram.

 

I always give my students Donald Hall's version:

 

 

 

The Crimson-Hued Conveyance

 

Such an extraordinary degree of importance

is attached

 

to a crimson-hued conveyance

for waste material

 

which has accumulated particles of liquid

emanating from the heavens

 

in the approximate vicinity

of the albino poultry.

 

[fr. *Goatfoot Milktongue Twinbird*]

 

 

 

 

========================================

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 Feb 13, 2008, at 10:25 AM, Skip Fox wrote:





 

The Florid Cycle Drum 

 

such like significance rests

atop

 

a florid cycle 

drum 

 

buffed by splatter

melt

 

on the flank of albino

poultry.

 

 

_______________________________________________

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  Wed Feb 13 14:19:16 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 13 Feb 2008 20:19:16 +0100
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <001101c86e6a$bcdce100$f4954682@win.louisiana.edu>
References: <001101c86e6a$bcdce100$f4954682@win.louisiana.edu>
Message-ID: <D19A33D3BA134371863384DF2E4AE5FB@AnnyPC>

I love both poems, can you explain me how it works? Sorry to be that ignorant,

anny
  ----- Original Message ----- 
  From: Skip Fox 
  To: 'NewPoetry: Contemporary Poetry News &amp;Views' 
  Sent: Wednesday, February 13, 2008 7:03 PM
  Subject: RE: [New-Poetry] The thesauragram.


  Very nice! I didn't know of this. Mine was actually 95% made from the Thesaurus. Nice we both picked "albino poultry." His the more polished and "exact."



  There are no thesaurus terms for articles, I realized. You could use "one" for "a," etc. but these were not indexed in the thesaurus I used.



  -----Original Message-----
  From: new-poetry-bounces at wiz.cath.vt.edu [mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of David Graham
  Sent: Wednesday, February 13, 2008 10:49 AM
  To: NewPoetry: Contemporary Poetry News &amp;Views
  Subject: [New-Poetry] The theasauragram.



  I always give my students Donald Hall's version:







  The Crimson-Hued Conveyance



  Such an extraordinary degree of importance

  is attached



  to a crimson-hued conveyance

  for waste material



  which has accumulated particles of liquid

  emanating from the heavens



  in the approximate vicinity

  of the albino poultry.



  [fr. *Goatfoot Milktongue Twinbird*]









  ========================================

  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 Feb 13, 2008, at 10:25 AM, Skip Fox wrote:







  The Florid Cycle Drum 



  such like significance rests

  atop



  a florid cycle 

  drum 



  buffed by splatter

  melt



  on the flank of albino

  poultry.





  _______________________________________________

  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
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From anny.ballardini at tin.it  Wed Feb 13 14:27:33 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 13 Feb 2008 20:27:33 +0100
Subject: [New-Poetry] NewPoetry List is 7
In-Reply-To: <8CA3C7AD7161705-E58-8F6@WEBMAIL-DB01.sysops.aol.com>
References: <8CA3C7AD7161705-E58-8F6@WEBMAIL-DB01.sysops.aol.com>
Message-ID: <09CA0DB1E4804D02885ADC1C4F355E14@AnnyPC>

I love List Tyrants for Life
they are blond and tall
& smile just when they fall

I love them for their bonuses
anniversaries & smart slides
their opuses are the best

no one is like the rest
List Tyrants for Life is all you can get
Hooray! I'd never change for any other Net!

Cheers
with virtual champagne
:-)

Anny
  ----- Original Message ----- 
  From: jforjames at aol.com 
  To: new-poetry at wiz.cath.vt.edu 
  Sent: Wednesday, February 13, 2008 6:13 PM
  Subject: [New-Poetry] NewPoetry List is 7


  Yesterday I believe was the 7th Anniversary of this list, founded in February 2001.

  I'd like to thank all the members for keeping the list going; keeping it flame-free and friendly.

  I'm looking to 'hire' a couple more 'contributing correspondents'. It's not a paid gig, of course,
  but your duties are light: Post at least one item of interest per week... 
  David, Tad, Anny, Hal, Jim C, all get their bonuses this year for participation. 

  Suggestions, ideas, always welcome. Anything you think would make the list better. Front or backchannel.
  (But I'm not resigning...so forget about that.)

  Please pass this note on to others who might be interested in joining the list. We don't really need
  to grow our numbers, but having a few new virtual voices chiming in is a good thing, I think.

  For Info and to Subscribe to New-Poetry, go here...
  http://wiz.cath.vt.edu/mailman/listinfo/new-poetry

  Thanks,
  Jim Finnegan
  List Tyrant for Life





------------------------------------------------------------------------------
  More new features than ever. Check out the new 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 skip at louisiana.edu  Wed Feb 13 15:29:46 2008
From: skip at louisiana.edu (Skip Fox)
Date: Wed, 13 Feb 2008 14:29:46 -0600
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <D19A33D3BA134371863384DF2E4AE5FB@AnnyPC>
Message-ID: <000001c86e7f$32b7d6f0$f4954682@win.louisiana.edu>

I simply used the thesaurus and picked complementary words. (I assume Hall's
process was more clearly creative, not bound to a text.) I also added
"significance" dropping "quality"  in the first line. I think that's the
only change. But, unlike the Oulipo's N+7 exercise, I thought a thesaurus
(which has less chance involved in the process, more the mind behind
language) plus a mind making choices would be more interesting. I still love
the fact that "albino chickens" showed in both. It DID seem the right
choice. (There were MANY other possibilities.)

 

(Oulipian N+7 pieces are  moderately nice to see, boring to do.)

-----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: Wednesday, February 13, 2008 1:19 PM
To: NewPoetry: Contemporary Poetry News &amp;Views
Subject: Re: [New-Poetry] The thesauragram.

 

I love both poems, can you explain me how it works? Sorry to be that
ignorant,

 

anny

----- Original Message ----- 

From: Skip Fox <mailto:skip at louisiana.edu>  

To: 'NewPoetry: <mailto:new-poetry at wiz.cath.vt.edu>  Contemporary Poetry
News &amp;Views' 

Sent: Wednesday, February 13, 2008 7:03 PM

Subject: RE: [New-Poetry] The thesauragram.

 

Very nice! I didn't know of this. Mine was actually 95% made from the
Thesaurus. Nice we both picked "albino poultry." His the more polished and
"exact."

 

There are no thesaurus terms for articles, I realized. You could use "one"
for "a," etc. but these were not indexed in the thesaurus I used.

 

-----Original Message-----
From: new-poetry-bounces at wiz.cath.vt.edu
[mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of David Graham
Sent: Wednesday, February 13, 2008 10:49 AM
To: NewPoetry: Contemporary Poetry News &amp;Views
Subject: [New-Poetry] The theasauragram.

 

I always give my students Donald Hall's version:

 

 

 

The Crimson-Hued Conveyance

 

Such an extraordinary degree of importance

is attached

 

to a crimson-hued conveyance

for waste material

 

which has accumulated particles of liquid

emanating from the heavens

 

in the approximate vicinity

of the albino poultry.

 

[fr. *Goatfoot Milktongue Twinbird*]

 

 

 

 

========================================

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 Feb 13, 2008, at 10:25 AM, Skip Fox wrote:

 

 

The Florid Cycle Drum 

 

such like significance rests

atop

 

a florid cycle 

drum 

 

buffed by splatter

melt

 

on the flank of albino

poultry.

 

 

_______________________________________________

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

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From Opus40-01 at opus40.org  Wed Feb 13 17:13:55 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Wed, 13 Feb 2008 17:13:55 -0500
Subject: [New-Poetry] The theasauragram.
In-Reply-To: <BF095AD1-1913-4B8A-AE7E-0780F6EBADD1@ripon.edu>
References: <006001c86e5d$2462ae80$f4954682@win.louisiana.edu>
	<BF095AD1-1913-4B8A-AE7E-0780F6EBADD1@ripon.edu>
Message-ID: <47B36BA3.10206@opus40.org>



David Graham wrote:
> I always give my students Donald Hall's version:
>
>
>
> *The Crimson-Hued Conveyance*
>
> Such an extraordinary degree of importance
> is attached
>
> to a crimson-hued conveyance
> for waste material
>
> which has accumulated particles of liquid
> emanating from the heavens
>
> in the approximate vicinity
> of the albino poultry.
>
> [fr. *Goatfoot Milktongue Twinbird*]
>


SO MUCH DEPENDS...

            /in the approximate vicinity/
            /of the albino poultry.

            /Donald Hall


        Whatever chicken, broad or narrow,
        That pecked beside that red wheelbarrow,

        May have appeared, to judge or wino,
        It certainly was not albino.

        It may have been Ameraucana,
        Imported from Brazil or Ghana,

        Both noted for abundant fauna.
        Perhaps the Rumpless Araucana

        -- But could so much indeed depend
        On barnyard fowl with no rear end?

        Aseel, Cochin, or Barnevelder
        (You won't forget one once you've held her),

        The Cubalaya's a petite bird,
        but also Cuba's fighting meat bird.


        Antwerp Belgian,  Belgian D'Uccle
        Booted or Sabelpoot, a muckle,

        Not likely it's a Chantecler,
        Even in Canada they're rare.

        Cornish, Delaware (rare), Dorking,
        Dutch or Hamburg might be working,

        To get an egg one fries or boils
        He might have chosen Faverolles,

        For an egg that's truly fresh,
        Langshan, Phoenix, or La Fleche,

        For oven or for frying pan
        American Holland, or Houdan.

        Chabo or Japanese (still called
        Japs in some parts of the world).

        Since so much depends upon her,
        Better not choose a Lamona,

        Red-ear-lobed and quite distinct,
        But quite possibly extinct.

        If the farm was near foreclosing
        Dr. Will might well have chosen

         Leghorn , big and white and mean,
        The ultimate egg-lay machine.

        He could have gone to court a dame
        With the Modern English Game,

        The game bird with style and carriage
        (Courtship might then lead to marriage).

        Or, if only after sex,
        Transylvanian Naked Necks

        Enchant the girl who loves to swing
        Or Russian Orloff, that wild thing.

        Orpington is big and friendly,
        Nothing fancy, nothing trendy

        Plymouth Rock, Rhode Island White,
        Yokohama, Rosecomb might

        Be dependable commodities,
        Not Silkie (oddity of oddities).

        Wyandotte's the "bird of curves,"
        Still, that might get on your nerves.

        Sultan? No, it's all for show.
        Dr. William C. should go

        For something local, large, compliant,
        Dependable --  the Jersey Giant.

















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From Opus40-01 at opus40.org  Wed Feb 13 17:15:58 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Wed, 13 Feb 2008 17:15:58 -0500
Subject: [New-Poetry] NewPoetry List is 7
In-Reply-To: <8CA3C7AD7161705-E58-8F6@WEBMAIL-DB01.sysops.aol.com>
References: <8CA3C7AD7161705-E58-8F6@WEBMAIL-DB01.sysops.aol.com>
Message-ID: <47B36C1E.8060004@opus40.org>



jforjames at aol.com wrote:
> Yesterday I believe was the 7th Anniversary of this list, founded in 
> February 2001.
>
> I'd like to thank all the members for keeping the list going; keeping 
> it flame-free and friendly.

Oh, yeah, you $)$*)__$&$^#$^#_(*#(#)#!!!!!!!!



From jforjames at aol.com  Wed Feb 13 19:04:04 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 13 Feb 2008 19:04:04 -0500
Subject: [New-Poetry] love poems continued
Message-ID: <8CA3CB43EA8047B-E80-157F@WEBMAIL-DG11.sim.aol.com>


Set Her Far From Me, Mirror



Set her far from me, mirror.
Reverse her size.
She who fills the world,
make her little, make her almost nothing.
Let her fit into monosyllables
and any eyes at all.
So that you can hold
her enormity,
a gazelle, tame,
like a child, in your frame.
Take from her that rejoicing
in fire and fullness,
until the finest scales
can?t even feel her.
Leave her cold, flat,
buried in your quicksilver.
Turn
her eyes away.
Don?t let her see me, let her
think she?s alone. So that I
can learn at last what she?s like
when she?s alone.
Give me something of her
that she herself never gave me.


Even so, even
in the revelation of her,
even so you take her from me.


--Pedro Salinas
Translated by W.S. Merwin


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From cstroffo at earthlink.net  Wed Feb 13 19:21:34 2008
From: cstroffo at earthlink.net (Chris Stroffolino)
Date: Wed, 13 Feb 2008 16:21:34 -0800
Subject: [New-Poetry] love poems continued
In-Reply-To: <8CA3CB43EA8047B-E80-157F@WEBMAIL-DG11.sim.aol.com>
References: <8CA3CB43EA8047B-E80-157F@WEBMAIL-DG11.sim.aol.com>
Message-ID: <716E89F7-220A-42E8-AC76-12481347C1EB@earthlink.net>

I like it, and all that, but I'm curious what women think about it...
It seems more of a 'muse' poem than a love poem
(and, I know, I know, in saying that, I'm probably even lumping the  
poems I consider my best love poems in that category as well...)

and by saying this I don't mean to criticize it, I mostly have a hard  
time being convinced by a poem that is purported to be a love poem
(more so than a love song, or love story even)....
and I'm trying to figure out if it's because of poetic self- 
consciousness (not just a post-modern thing,
but the "dissociation of sensibility" after John Donne and all that),
or a particular puritan strain, etc.
I could mention some mid-late 20th century (contemporary) ones that  
might come closer to me,
but I'm curious about this resistance that has mostly consigned the  
"love poem" to the song form...

C

On Feb 13, 2008, at 4:04 PM, jforjames at aol.com wrote:

> Set Her Far From Me, Mirror
>
>
> Set her far from me, mirror.
> Reverse her size.
> She who fills the world,
> make her little, make her almost nothing.
> Let her fit into monosyllables
> and any eyes at all.
> So that you can hold
> her enormity,
> a gazelle, tame,
> like a child, in your frame.
> Take from her that rejoicing
> in fire and fullness,
> until the finest scales
> can?t even feel her.
> Leave her cold, flat,
> buried in your quicksilver.
> Turn
> her eyes away.
> Don?t let her see me, let her
> think she?s alone. So that I
> can learn at last what she?s like
> when she?s alone.
> Give me something of her
> that she herself never gave me.
>
> Even so, even
> in the revelation of her,
> even so you take her from me.
>
> --Pedro Salinas
> Translated by W.S. Merwin
> More new features than ever. Check out the new 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 grahamd at ripon.edu  Thu Feb 14 10:04:00 2008
From: grahamd at ripon.edu (David Graham)
Date: Thu, 14 Feb 2008 09:04:00 -0600
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <000001c86e7f$32b7d6f0$f4954682@win.louisiana.edu>
References: <000001c86e7f$32b7d6f0$f4954682@win.louisiana.edu>
Message-ID: <4A7D24FB-00A7-48E1-B67F-E1F4466B50D5@ripon.edu>

Hall's re-write of the red wheelbarrow came from a mini-essay he  
wrote about the differences between contemporary English and U.S.  
poetry.  A joking way of illustrating different attitudes toward  
diction.  A vast oversimplification about national poetries, as of  
course he well knows.  Anyway, his version was a straight paraphrase  
of the Williams poem, employing more abstract vocabulary.

I always use the pair of poems in my classes when introducing the  
concepts of voice and diction.  A nice way to illustrate one of  
Hall's maxims, "In poetry there is no such thing as a synonym."


========================================
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 Feb 13, 2008, at 2:29 PM, Skip Fox wrote:

> I simply used the thesaurus and picked complementary words. (I  
> assume Hall?s process was more clearly creative, not bound to a  
> text.) I also added ?significance? dropping ?quality?  in the first  
> line. I think that?s the only change. But, unlike the Oulipo?s N+7  
> exercise, I thought a thesaurus (which has less chance involved in  
> the process, more the mind behind language) plus a mind making  
> choices would be more interesting. I still love the fact that  
> ?albino chickens? showed in both. It DID seem the right choice.  
> (There were MANY other possibilities.)
>
>
> (Oulipian N+7 pieces are  moderately nice to see, boring to do.)
>
> -----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: Wednesday, February 13, 2008 1:19 PM
> To: NewPoetry: Contemporary Poetry News &amp;Views
> Subject: Re: [New-Poetry] The thesauragram.
>
>
> I love both poems, can you explain me how it works? Sorry to be  
> that ignorant,
>
>
> anny
>
> ----- Original Message -----
>
> From: Skip Fox
>
> To: 'NewPoetry: Contemporary Poetry News &amp;Views'
>
> Sent: Wednesday, February 13, 2008 7:03 PM
>
> Subject: RE: [New-Poetry] The thesauragram.
>
>
> Very nice! I didn?t know of this. Mine was actually 95% made from  
> the Thesaurus. Nice we both picked ?albino poultry.? His the more  
> polished and ?exact.?
>
>
> There are no thesaurus terms for articles, I realized. You could  
> use ?one? for ?a,? etc. but these were not indexed in the thesaurus  
> I used.
>
>
> -----Original Message-----
> From: new-poetry-bounces at wiz.cath.vt.edu [mailto:new-poetry- 
> bounces at wiz.cath.vt.edu] On Behalf Of David Graham
> Sent: Wednesday, February 13, 2008 10:49 AM
> To: NewPoetry: Contemporary Poetry News &amp;Views
> Subject: [New-Poetry] The theasauragram.
>
>
> I always give my students Donald Hall's version:
>
>
>
>
> The Crimson-Hued Conveyance
>
>
> Such an extraordinary degree of importance
>
> is attached
>
>
> to a crimson-hued conveyance
>
> for waste material
>
>
> which has accumulated particles of liquid
>
> emanating from the heavens
>
>
> in the approximate vicinity
>
> of the albino poultry.
>
>
> [fr. *Goatfoot Milktongue Twinbird*]
>
>
>
>
>
> ========================================
>
> 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 Feb 13, 2008, at 10:25 AM, Skip Fox wrote:
>
>
>
> The Florid Cycle Drum
>
>
> such like significance rests
>
> atop
>
>
> a florid cycle
>
> drum
>
>
> buffed by splatter
>
> melt
>
>
> on the flank of albino
>
> poultry.
>
>
>
> _______________________________________________
>
> New-Poetry mailing list
>
> New-Poetry at wiz.cath.vt.edu
>
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry

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From halvard at earthlink.net  Thu Feb 14 10:12:05 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Thu, 14 Feb 2008 09:12:05 -0600
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <4A7D24FB-00A7-48E1-B67F-E1F4466B50D5@ripon.edu>
References: <000001c86e7f$32b7d6f0$f4954682@win.louisiana.edu>
	<4A7D24FB-00A7-48E1-B67F-E1F4466B50D5@ripon.edu>
Message-ID: <7E733100-6B86-40E5-8688-9BE3883B3359@earthlink.net>

Of course, Hall also said that, when reading poetry, he'd read only
as far as the first "dead metaphor"--which, as we know, is a dead
metaphor in itself.

Hal

"All naming is already murder."
		--Jacques Lacan

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 Feb 14, 2008, at 9:04 AM, David Graham wrote:

> Hall's re-write of the red wheelbarrow came from a mini-essay he  
> wrote about the differences between contemporary English and U.S.  
> poetry.  A joking way of illustrating different attitudes toward  
> diction.  A vast oversimplification about national poetries, as of  
> course he well knows.  Anyway, his version was a straight paraphrase  
> of the Williams poem, employing more abstract vocabulary.
>
> I always use the pair of poems in my classes when introducing the  
> concepts of voice and diction.  A nice way to illustrate one of  
> Hall's maxims, "In poetry there is no such thing as a synonym."
>
>
> ========================================
> 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 Feb 13, 2008, at 2:29 PM, Skip Fox wrote:
>
>> I simply used the thesaurus and picked complementary words. (I  
>> assume Hall?s process was more clearly creative, not bound to a  
>> text.) I also added ?significance? dropping ?quality?  in the first  
>> line. I think that?s the only change. But, unlike the Oulipo?s N+7  
>> exercise, I thought a thesaurus (which has less chance involved in  
>> the process, more the mind behind language) plus a mind making  
>> choices would be more interesting. I still love the fact that  
>> ?albino chickens? showed in both. It DID seem the right choice.  
>> (There were MANY other possibilities.)
>>
>>
>> (Oulipian N+7 pieces are  moderately nice to see, boring to do.)
>>
>> -----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: Wednesday, February 13, 2008 1:19 PM
>> To: NewPoetry: Contemporary Poetry News &amp;Views
>> Subject: Re: [New-Poetry] The thesauragram.
>>
>>
>> I love both poems, can you explain me how it works? Sorry to be  
>> that ignorant,
>>
>>
>> anny
>>
>> ----- Original Message -----
>>
>> From: Skip Fox
>>
>> To: 'NewPoetry: Contemporary Poetry News &amp;Views'
>>
>> Sent: Wednesday, February 13, 2008 7:03 PM
>>
>> Subject: RE: [New-Poetry] The thesauragram.
>>
>>
>> Very nice! I didn?t know of this. Mine was actually 95% made from  
>> the Thesaurus. Nice we both picked ?albino poultry.? His the more  
>> polished and ?exact.?
>>
>>
>> There are no thesaurus terms for articles, I realized. You could  
>> use ?one? for ?a,? etc. but these were not indexed in the thesaurus  
>> I used.
>>
>>
>> -----Original Message-----
>> From: new-poetry-bounces at wiz.cath.vt.edu [mailto:new-poetry-bounces at wiz.cath.vt.edu 
>> ] On Behalf Of David Graham
>> Sent: Wednesday, February 13, 2008 10:49 AM
>> To: NewPoetry: Contemporary Poetry News &amp;Views
>> Subject: [New-Poetry] The theasauragram.
>>
>>
>> I always give my students Donald Hall's version:
>>
>>
>>
>>
>> The Crimson-Hued Conveyance
>>
>>
>> Such an extraordinary degree of importance
>>
>> is attached
>>
>>
>> to a crimson-hued conveyance
>>
>> for waste material
>>
>>
>> which has accumulated particles of liquid
>>
>> emanating from the heavens
>>
>>
>> in the approximate vicinity
>>
>> of the albino poultry.
>>
>>
>> [fr. *Goatfoot Milktongue Twinbird*]
>>
>>
>>
>>
>>
>> ========================================
>>
>> 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 Feb 13, 2008, at 10:25 AM, Skip Fox wrote:
>>
>>
>>
>> The Florid Cycle Drum
>>
>>
>> such like significance rests
>>
>> atop
>>
>>
>> a florid cycle
>>
>> drum
>>
>>
>> buffed by splatter
>>
>> melt
>>
>>
>> on the flank of albino
>>
>> poultry.
>>
>>
>>
>> _______________________________________________
>>
>> New-Poetry mailing list
>>
>> New-Poetry at wiz.cath.vt.edu
>>
>> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>>
>>
>> _______________________________________________
>> New-Poetry mailing list
>> New-Poetry at wiz.cath.vt.edu
>> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>>
>> _______________________________________________
>> New-Poetry mailing list
>> New-Poetry at wiz.cath.vt.edu
>> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
> _______________________________________________
> 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 mandolin at mac.com  Thu Feb 14 10:25:39 2008
From: mandolin at mac.com (Michael Snider)
Date: Thu, 14 Feb 2008 10:25:39 -0500
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <7E733100-6B86-40E5-8688-9BE3883B3359@earthlink.net>
References: <000001c86e7f$32b7d6f0$f4954682@win.louisiana.edu>
	<4A7D24FB-00A7-48E1-B67F-E1F4466B50D5@ripon.edu>
	<7E733100-6B86-40E5-8688-9BE3883B3359@earthlink.net>
Message-ID: <EBDE9B05-FC46-46B0-B7A8-42B7F30F9696@mac.com>


On Feb 14, 2008, at 10:12 AM, Halvard Johnson wrote:

> Of course, Hall also said that, when reading poetry, he'd read only
> as far as the first "dead metaphor"--which, as we know, is a dead
> metaphor in itself.
>>

But did he say that in a poem?

And more seriously, what about things like "follow a train of  
thought"? There are at least two metaphors buried there-- George  
Lakoff and Mark Johnson, in Metaphors We Live By, argue pretty  
persuasively that human thought is impossible without metaphor, and  
later, in Philosophy in the Fesh, that most of those metaphors are  
dependent on (hang from) out literal (as if read) flesh.

Is a fresh-killed metaphor OK until it begins to stink, and then once  
more poetically useful when the odor of decay has gone?



From david.weinstock at gmail.com  Thu Feb 14 10:31:43 2008
From: david.weinstock at gmail.com (David Weinstock)
Date: Thu, 14 Feb 2008 10:31:43 -0500
Subject: [New-Poetry] Introducing myself
Message-ID: <437b1e3a0802140731y1f8b5f4emcc521c9d4d3d6db@mail.gmail.com>

Hello, New Poetry!

I am a longtime member of Cafe Blue, where today David Graham posted a
mention of this list.

I live in Middlebury, Vermont, where I lead a weekly open workshop known as
the Otter Creek Poets. I am also a member of a smaller, by-invitation group,
the Spring Street Poets, which includes, among others, Karin Gottshall,
Jennifer Bates and Ray Hudson. I started both groups 10 years ago, after
having a great time at the Bread Loaf Writers Conference and deciding that I
needed to get poetry back into my life.

I've published a bit here and there, more in e-zines than print.For most of
my life I have been various kinds of writer-for-hire, with stints in
advertising agencies and corporations, including three years writing for the
L.L.Bean catalog.

I look forward to meeting you all.

David Weinstock
Middlebury, Vermont
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From grahamd at ripon.edu  Thu Feb 14 10:48:31 2008
From: grahamd at ripon.edu (David Graham)
Date: Thu, 14 Feb 2008 09:48:31 -0600
Subject: [New-Poetry] Metaphorica
In-Reply-To: <EBDE9B05-FC46-46B0-B7A8-42B7F30F9696@mac.com>
References: <000001c86e7f$32b7d6f0$f4954682@win.louisiana.edu>
	<4A7D24FB-00A7-48E1-B67F-E1F4466B50D5@ripon.edu>
	<7E733100-6B86-40E5-8688-9BE3883B3359@earthlink.net>
	<EBDE9B05-FC46-46B0-B7A8-42B7F30F9696@mac.com>
Message-ID: <BE100EC2-169C-45E5-8C6E-334F549076BD@ripon.edu>

Frost's "Education By Metaphor" is also interesting along these lines.

When I teach metaphor one thing I often find myself talking about is  
the difference between what might be called cultural or natural  
metaphors, which often lie buried below the surface, and ones that  
are more a matter of surface glitter & individual invention.  Natural  
metaphors would include things like winter as the season of old age,  
flowers as symbols of transient beauty, etc.  A cultural metaphor  
might be the "road of life" notion that underlies a poem like Frost's  
"The Road Not Taken."  Frost is conventionally associating time with  
space, and envisioning experiencing time as walking down a path.   
Students often don't realize it's a metaphor, in my experience, until  
you point it out.  (For example, I ask them how they *know* the  
poem's about big life decisions, which they all "get" right away, and  
not just a walk in the woods on Saturday.)  As I recall from an  
Anthropology class long ago, the future is "ahead" only in some  
cultures.

Cultural & natural metaphors, as I see it, don't go "dead,"  
typically, unless they're presented too baldly or simplistically.  If  
you simply write that "time is money," that's obviously stale; but if  
you work up some economic metaphors to describe time passing, that  
can be fine if you find fresh ways to put it.

The other sort of metaphor, which generally calls more attention to  
itself, goes dead rather quickly when overused; it becomes a pre-fab  
phrase or idea, like "bat out of hell," which when first coined was  
probably a stunner.  As was "the bottom line" when I first heard  
it. . . .


========================================
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 Feb 14, 2008, at 9:25 AM, Michael Snider wrote:

>
> On Feb 14, 2008, at 10:12 AM, Halvard Johnson wrote:
>
>> Of course, Hall also said that, when reading poetry, he'd read only
>> as far as the first "dead metaphor"--which, as we know, is a dead
>> metaphor in itself.
>>>
>
> But did he say that in a poem?
>
> And more seriously, what about things like "follow a train of  
> thought"? There are at least two metaphors buried there-- George  
> Lakoff and Mark Johnson, in Metaphors We Live By, argue pretty  
> persuasively that human thought is impossible without metaphor, and  
> later, in Philosophy in the Fesh, that most of those metaphors are  
> dependent on (hang from) out literal (as if read) flesh.
>
> Is a fresh-killed metaphor OK until it begins to stink, and then  
> once more poetically useful when the odor of decay has gone?
>
> _______________________________________________
> 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 Sigauke at crc.losrios.edu  Thu Feb 14 11:42:24 2008
From: Sigauke at crc.losrios.edu (Sigauke, Emmanuel )
Date: Thu, 14 Feb 2008 08:42:24 -0800
Subject: [New-Poetry] love poems continued
In-Reply-To: <8CA3CB43EA8047B-E80-157F@WEBMAIL-DG11.sim.aol.com>
References: <8CA3CB43EA8047B-E80-157F@WEBMAIL-DG11.sim.aol.com>
Message-ID: <31F3BD8702DDAD4DAFEAB5245EAAED661514DA@CRC-EXCH01.crc.ad.losrios.edu>

The new issue of Munyori  can be accessed at www.munyori.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, February 13, 2008 4:04 PM
To: new-poetry at wiz.cath.vt.edu
Subject: [New-Poetry] love poems continued


Set Her Far From Me, Mirror


Set her far from me, mirror.
Reverse her size.
She who fills the world,
make her little, make her almost nothing.
Let her fit into monosyllables
and any eyes at all.
So that you can hold
her enormity,
a gazelle, tame,
like a child, in your frame.
Take from her that rejoicing
in fire and fullness,
until the finest scales
can't even feel her.
Leave her cold, flat,
buried in your quicksilver.
Turn
her eyes away.
Don't let her see me, let her
think she's alone. So that I
can learn at last what she's like
when she's alone.
Give me something of her
that she herself never gave me.

Even so, even
in the revelation of her,
even so you take her from me.

--Pedro Salinas
Translated by W.S. Merwin

________________________________

More new features than ever. Check out the new AOL Mail
<http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?nci
d=aolcmp00050000000003> !

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From chris.lott at gmail.com  Thu Feb 14 14:16:13 2008
From: chris.lott at gmail.com (Chris Lott)
Date: Thu, 14 Feb 2008 10:16:13 -0900
Subject: [New-Poetry] Introducing myself
In-Reply-To: <437b1e3a0802140731y1f8b5f4emcc521c9d4d3d6db@mail.gmail.com>
References: <437b1e3a0802140731y1f8b5f4emcc521c9d4d3d6db@mail.gmail.com>
Message-ID: <9b1b9dab0802141116n4a18b857oeb01ea4b8d2c4de2@mail.gmail.com>

On Thu, Feb 14, 2008 at 6:31 AM, David Weinstock
<david.weinstock at gmail.com> wrote:
> Hello, New Poetry!

Welcome, David. There are already a few other Bluers here that didn't
register on David G's radar :)

c
--
Chris Lott


From anny.ballardini at tin.it  Thu Feb 14 16:13:28 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 14 Feb 2008 22:13:28 +0100
Subject: [New-Poetry] from Dan Waber
Message-ID: <EC3986BF21474EA3927D440335FF07F0@AnnyPC>

Well, it's official, my first full-length collection of lexical poetry
is ready to go.

The best way to get it is straight from the publisher at:

http://www.foothillspublishing.com/2008/id44.htm

Or you can contact me, I have some copies available, as well.

--

If you got the "advance notice" and pre-ordered, you should have your
copies shortly (if you don't have them already); and thanks! If this
is the first you're hearing of it, please visit the link above for a
sample poem, and an excerpt from the "After Words".

If you're the type that checks the blurbs first, here's a few for you
to consider:

"I found myself caught up in the autobiographical trueness of these
pieces, how Dan laid himself bare for all to view, and I was taken
especially by his many love poems, and their poignancy."--Geof Huth

"Tonight I read it in one sitting, couldn't put it down. Fascinating.
And I thought before I knew what was going on, as I didn't read the
afterword first. Yet with all the play there, a very vulnerable,
personal, open work. Risky, & rewarding."--Charles Alexander

"I put a lot of important bookstore tasks aside to read it, and I
couldn't stop. It's amazingly beautiful. Cinematic, too. I saw a lot
of the poems being read with two or three people, incorporating those
echoes before during, after the poems. If you ever need an extra
reader, I'm in."--Andrea Talarico

--

If you're in a position to help arrange any readings, let me know. My
Spring schedule is filling up pretty quick, but I'm always happy to
try and string multiple readings together whenever possible.

--

First reading from the book will be:

Anthology: New and Used Books
Casey Laundry Building, 2nd Floor
515 Center Street
Scranton, PA 18503
(570)941-9630
myspace.com/scranthology

Friday, Feb 29, 6-8pm ($10) and 8:30pm (FREE)
Leap Day Antenna Party and Poetry Reading.

At 6:00, join us for wine, food, and live music. All proceeds benefit
Antenna, a local arts and culture magazine. This portion of the party
is 21+.

At 8:00, drinks stop and the doors open to the public for the Test
Pattern Poetry Reading. Featured reader Dan Waber will read from and
sign his new book Echolalia, released by Foothills Publishing. Open
poetry reading will follow the feature.

Winter Hours: M-T-W 10-6 Th-Fr 10-7 Saturday 10-5 (We stay open later
for events!)

--

Hope to see you there, or somewhere else sometime soon.

Regards,
Dan

--
Paper Kite Press & Studio
443 Main Street
Kingston, PA 18704
USA
http://www.wordpainting.com/
--
Dan Waber's digital doings
http://www.logolalia.com/
--
Echolalia, from FootHills Publishing
http://www.foothillspublishing.com/2008/id44.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! 
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From barry.spacks at verizon.net  Thu Feb 14 16:52:29 2008
From: barry.spacks at verizon.net (Barry Spacks)
Date: Thu, 14 Feb 2008 13:52:29 -0800
Subject: [New-Poetry] Re: Welcome to Another David
In-Reply-To: <200802141700.m1EH048Y004527@wiz.cath.vt.edu>
References: <200802141700.m1EH048Y004527@wiz.cath.vt.edu>
Message-ID: <DA76BABF-B85A-4921-9ED6-B2EACEEA8574@verizon.net>


On Feb 14, 2008, at 9:00 AM, David Weinstock wrote:
>
> Hello, New Poetry!
>
> Hello right back and welcome, David, nice to be in
cyber-contact with you again.

usually lurking,

Barry


From jforjames at aol.com  Thu Feb 14 18:35:43 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 14 Feb 2008 18:35:43 -0500
Subject: [New-Poetry] two more  love poems in the nick of time
Message-ID: <8CA3D797396FB8A-E70-156E@Webmail-mg15.sim.aol.com>


In Yellow Grass


In the yellow grass
each gathers with its own kind?
and the lion-beauty cuts that invisible pen,
the bright wires trampled or leapt.


So, love, it will be with us, both
lion and prey?our mouths so deep in richness
only the wild scent of earth will be left
to tremble, after.


--


Meeting the Light Completely


Even the long-beloved 
was once 
an unrecognized stranger.


Just so,
the chipped lip
of a blue-glazed cup,
blown field 
of a yellow curtain,
might also,
flooding and falling,
ruin your heart.


A table painted with roses.
An empty clothesline.


Each time,
the found world surprises?
that is its nature.


And then
what is said by all lovers:
?What fools we were, not to have seen.? 



?Jane Hirshfield, The October Palace, Harper Collins, 1994


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From JforJames at aol.com  Thu Feb 14 19:03:11 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Thu, 14 Feb 2008 19:03:11 EST
Subject: [New-Poetry] The thesauragram.
Message-ID: <c35.29b24d29.34e630bf@aol.com>

 
 
Perhaps takes on WCW's watershed  poem are a mini-subgenre...this one I 
posted to Wallace Stevens list a while  badk... 
= 
Wheelbarrow Rouge 
A priori:
the rufescent  
wallow-barrel, 
in rainwater glac?, 
that sits athwart  
those feathered 
headdresses  
blanc.





**************The year's hottest artists on the red carpet at the Grammy 
Awards. Go to AOL Music.      
(http://music.aol.com/grammys?NCID=aolcmp00300000002565)
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From cervantes.james at gmail.com  Thu Feb 14 19:25:20 2008
From: cervantes.james at gmail.com (James Cervantes)
Date: Thu, 14 Feb 2008 17:25:20 -0700
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <c35.29b24d29.34e630bf@aol.com>
References: <c35.29b24d29.34e630bf@aol.com>
Message-ID: <648208b60802141625p2811bd68h478001a66e20d7b2@mail.gmail.com>

Astrolove

so many Depends
sodden

a red car
rented

peppered with bugs
floating

above the white
stripes stripes

On 2/14/08, JforJames at aol.com <JforJames at aol.com> wrote:
>
>
>
>
>
> Perhaps takes on WCW's watershed poem are a mini-subgenre...this one I
> posted to Wallace Stevens list a while badk...
>
> =
>
>
>
> Wheelbarrow Rouge
>
>
>
> A priori:
> the rufescent
>
>
>
> wallow-barrel,
>
> in rainwater glac?,
>
>
>
> that sits athwart
>
> those feathered
>
>
>
> headdresses
>
> blanc.
>
>
>
> ________________________________
> The year's hottest artists on the red carpet at the Grammy Awards. AOL Music
> takes you there.
> _______________________________________________
>  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://www.flickr.com/photos/12364573 at N08/



From JforJames at aol.com  Thu Feb 14 19:32:16 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Thu, 14 Feb 2008 19:32:16 EST
Subject: [New-Poetry] The thesauragram.
Message-ID: <d3f.236c894f.34e63790@aol.com>

 
In a message dated 2/14/2008 7:25:40 PM Eastern Standard Time,  
cervantes.james at gmail.com writes:

above  the white
stripes stripes


no fair to use pop culture references,
esp. just after they won a grammy.
Finnegan



**************The year's hottest artists on the red carpet at the Grammy 
Awards. Go to AOL Music.      
(http://music.aol.com/grammys?NCID=aolcmp00300000002565)
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From halvard at earthlink.net  Thu Feb 14 20:11:14 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Thu, 14 Feb 2008 19:11:14 -0600
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <c35.29b24d29.34e630bf@aol.com>
References: <c35.29b24d29.34e630bf@aol.com>
Message-ID: <DA72B964-C5AE-4A13-9129-3AF5A33AA329@earthlink.net>

Damn it, Finnegan. Now you've done it: you made me
go look for this, and even find it.

The Stewed Prunes

So much depends
upon
the stewed prunes

that were in
the icebox
beside the fried

chicken
and which
you were probably

saving
for breakfast
Forgive me

they were so sweet
and so cold and they
make me so regular





Hal

"Those who cast the ballots decide nothing.
  Those who count the ballots decide everything."
                             --Joseph Stalin

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 Feb 14, 2008, at 6:03 PM, JforJames at aol.com wrote:

> Perhaps takes on WCW's watershed poem are a mini-subgenre...this one  
> I posted to Wallace Stevens list a while badk...
> =
>
> Wheelbarrow Rouge
>
> A priori:
> the rufescent
>
> wallow-barrel,
> in rainwater glac?,
>
> that sits athwart
> those feathered
>
> headdresses
> blanc.
>
>
>
> The year's hottest artists on the red carpet at the Grammy Awards.  
> AOL Music takes you there.
> _______________________________________________
> 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  Thu Feb 14 20:35:09 2008
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Thu, 14 Feb 2008 20:35:09 -0500
Subject: [New-Poetry] Metaphorica
In-Reply-To: <BE100EC2-169C-45E5-8C6E-334F549076BD@ripon.edu>
References: <000001c86e7f$32b7d6f0$f4954682@win.louisiana.edu><4A7D24FB-00A7-48E1-B67F-E1F4466B50D5@ripon.edu><7E733100-6B86-40E5
	-8688-9BE3883B3359@earthlink.net><EBDE9B05-FC46-46B0-B7A8-42B7F30F9696@mac.com>
	<BE100EC2-169C-45E5-8C6E-334F549076BD@ripon.edu>
Message-ID: <47B4EC4D.5090703@nut-n-but.net>

I agree with what you're saying, David, except I think you're talking 
about symbols, not metaphors. 

--Bob G.

David Graham wrote:
> Frost's "Education By Metaphor" is also interesting along these lines.  
>
> When I teach metaphor one thing I often find myself talking about is 
> the difference between what might be called cultural or natural 
> metaphors, which often lie buried below the surface, and ones that are 
> more a matter of surface glitter & individual invention.  Natural 
> metaphors would include things like winter as the season of old age, 
> flowers as symbols of transient beauty, etc.  A cultural metaphor 
> might be the "road of life" notion that underlies a poem like Frost's 
> "The Road Not Taken."  Frost is conventionally associating time with 
> space, and envisioning experiencing time as walking down a path. 
>  Students often don't realize it's a metaphor, in my experience, until 
> you point it out.  (For example, I ask them how they *know* the poem's 
> about big life decisions, which they all "get" right away, and not 
> just a walk in the woods on Saturday.)  As I recall from an 
> Anthropology class long ago, the future is "ahead" only in some cultures.
>
> Cultural & natural metaphors, as I see it, don't go "dead," typically, 
> unless they're presented too baldly or simplistically.  If you simply 
> write that "time is money," that's obviously stale; but if you work up 
> some economic metaphors to describe time passing, that can be fine if 
> you find fresh ways to put it.  
>
> The other sort of metaphor, which generally calls more attention to 
> itself, goes dead rather quickly when overused; it becomes a pre-fab 
> phrase or idea, like "bat out of hell," which when first coined was 
> probably a stunner.  As was "the bottom line" when I first heard it. . . .
>
>
> ========================================
> David Graham
> grahamd at ripon.edu <mailto: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 Feb 14, 2008, at 9:25 AM, Michael Snider wrote:
>
>>
>> On Feb 14, 2008, at 10:12 AM, Halvard Johnson wrote:
>>
>>> Of course, Hall also said that, when reading poetry, he'd read only
>>> as far as the first "dead metaphor"--which, as we know, is a dead
>>> metaphor in itself.
>>>>
>>
>> But did he say that in a poem?
>>
>> And more seriously, what about things like "follow a train of 
>> thought"? There are at least two metaphors buried there-- George 
>> Lakoff and Mark Johnson, in Metaphors We Live By, argue pretty 
>> persuasively that human thought is impossible without metaphor, and 
>> later, in Philosophy in the Fesh, that most of those metaphors are 
>> dependent on (hang from) out literal (as if read) flesh.
>>
>> Is a fresh-killed metaphor OK until it begins to stink, and then once 
>> more poetically useful when the odor of decay has gone?
>>
>> _______________________________________________
>> 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
>
> ------------------------------------------------------------------------
>
> _______________________________________________
> 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 Opus40-01 at opus40.org  Thu Feb 14 21:34:22 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Thu, 14 Feb 2008 21:34:22 -0500
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <DA72B964-C5AE-4A13-9129-3AF5A33AA329@earthlink.net>
References: <c35.29b24d29.34e630bf@aol.com>
	<DA72B964-C5AE-4A13-9129-3AF5A33AA329@earthlink.net>
Message-ID: <47B4FA2E.5040104@opus40.org>

Very goo stuff here -- Hal, Jim and Jim.

Halvard Johnson wrote:
> Damn it, Finnegan. Now you've done it: you made me
> go look for this, and even find it.
>
> The Stewed Prunes
>
> So much depends
> upon
> the stewed prunes
>
> that were in
> the icebox
> beside the fried
>
> chicken
> and which
> you were probably
>
> saving
> for breakfast
> Forgive me
>
> they were so sweet
> and so cold and they
> make me so regular
>
>
>
> Hal
>
> "Those who cast the ballots decide nothing.
>  Those who count the ballots decide everything."
>                             --Joseph Stalin
>
> Halvard Johnson
> ================
> halvard at earthlink.net <mailto:halvard at earthlink.net>
> http://home.earthlink.net/~halvard/index.html 
> <http://home.earthlink.net/%7Ehalvard/index.html>
> http://entropyandme.blogspot.com 
> http://imageswithoutwords.blogspot.com
> http://www.hamiltonstone.org
> http://home.earthlink.net/~halvard/vidalocabooks.html 
> <http://home.earthlink.net/%7Ehalvard/vidalocabooks.html>
>
> On Feb 14, 2008, at 6:03 PM, JforJames at aol.com 
> <mailto:JforJames at aol.com> wrote:
>
>> Perhaps takes on WCW's watershed poem are a mini-subgenre...this one 
>> I posted to Wallace Stevens list a while badk...
>> =
>>
>>  
>>
>> Wheelbarrow Rouge
>>
>>  
>>
>> A priori:
>> the rufescent
>>
>>  
>>
>> wallow-barrel,
>> in rainwater /glac?/,
>>
>>  
>>
>> that sits athwart
>> those feathered
>>
>>  
>>
>> headdresses
>> /blanc/.
>>
>>
>>
>> ------------------------------------------------------------------------
>> The year's hottest artists on the red carpet at the Grammy Awards. 
>> AOL Music takes you there. 
>> <http://music.aol.com/grammys?NCID=aolcmp00300000002565>
>> _______________________________________________
>> 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
>
> ------------------------------------------------------------------------
>
> _______________________________________________
> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From Opus40-01 at opus40.org  Thu Feb 14 21:56:09 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Thu, 14 Feb 2008 21:56:09 -0500
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <47B4FA2E.5040104@opus40.org>
References: <c35.29b24d29.34e630bf@aol.com>	<DA72B964-C5AE-4A13-9129-3AF5A33AA329@earthlink.net>
	<47B4FA2E.5040104@opus40.org>
Message-ID: <47B4FF49.7070607@opus40.org>

good, that is.

TheOldMole wrote:
> Very goo stuff here -- Hal, Jim and Jim.
>
> Halvard Johnson wrote:
>> Damn it, Finnegan. Now you've done it: you made me
>> go look for this, and even find it.
>>
>> The Stewed Prunes
>>
>> So much depends
>> upon
>> the stewed prunes
>>
>> that were in
>> the icebox
>> beside the fried
>>
>> chicken
>> and which
>> you were probably
>>
>> saving
>> for breakfast
>> Forgive me
>>
>> they were so sweet
>> and so cold and they
>> make me so regular
>>
>>
>>
>> Hal
>>
>> "Those who cast the ballots decide nothing.
>>  Those who count the ballots decide everything."
>>                             --Joseph Stalin
>>
>> Halvard Johnson
>> ================
>> halvard at earthlink.net <mailto:halvard at earthlink.net>
>> http://home.earthlink.net/~halvard/index.html 
>> <http://home.earthlink.net/%7Ehalvard/index.html>
>> http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com
>> http://www.hamiltonstone.org
>> http://home.earthlink.net/~halvard/vidalocabooks.html 
>> <http://home.earthlink.net/%7Ehalvard/vidalocabooks.html>
>>
>> On Feb 14, 2008, at 6:03 PM, JforJames at aol.com 
>> <mailto:JforJames at aol.com> wrote:
>>
>>> Perhaps takes on WCW's watershed poem are a mini-subgenre...this one 
>>> I posted to Wallace Stevens list a while badk...
>>> =
>>>
>>>  
>>>
>>> Wheelbarrow Rouge
>>>
>>>  
>>>
>>> A priori:
>>> the rufescent
>>>
>>>  
>>>
>>> wallow-barrel,
>>> in rainwater /glac?/,
>>>
>>>  
>>>
>>> that sits athwart
>>> those feathered
>>>
>>>  
>>>
>>> headdresses
>>> /blanc/.
>>>
>>>
>>>
>>> ------------------------------------------------------------------------ 
>>>
>>> The year's hottest artists on the red carpet at the Grammy Awards. 
>>> AOL Music takes you there. 
>>> <http://music.aol.com/grammys?NCID=aolcmp00300000002565>
>>> _______________________________________________
>>> 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
>>
>> ------------------------------------------------------------------------
>>
>> _______________________________________________
>> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From anny.ballardini at tin.it  Fri Feb 15 00:46:46 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Fri, 15 Feb 2008 06:46:46 +0100
Subject: [New-Poetry] two more  love poems in the nick of time
In-Reply-To: <8CA3D797396FB8A-E70-156E@Webmail-mg15.sim.aol.com>
References: <8CA3D797396FB8A-E70-156E@Webmail-mg15.sim.aol.com>
Message-ID: <A26DBCD4EA934D42AEF41207B0F305BA@AnnyPC>

It is very difficult to find a love poem that can be of interest. 
Thank you for sending these two over, 
  ----- Original Message ----- 
  From: jforjames at aol.com 
  To: new-poetry at wiz.cath.vt.edu 
  Sent: Friday, February 15, 2008 12:35 AM
  Subject: [New-Poetry] two more love poems in the nick of time


  In Yellow Grass

  In the yellow grass
  each gathers with its own kind?
  and the lion-beauty cuts that invisible pen,
  the bright wires trampled or leapt.

  So, love, it will be with us, both
  lion and prey?our mouths so deep in richness
  only the wild scent of earth will be left
  to tremble, after.

  --

  Meeting the Light Completely

  Even the long-beloved 
  was once 
  an unrecognized stranger.

  Just so,
  the chipped lip
  of a blue-glazed cup,
  blown field 
  of a yellow curtain,
  might also,
  flooding and falling,
  ruin your heart.

  A table painted with roses.
  An empty clothesline.

  Each time,
  the found world surprises?
  that is its nature.

  And then
  what is said by all lovers:
  ?What fools we were, not to have seen.? 

  ?Jane Hirshfield, The October Palace, Harper Collins, 1994


------------------------------------------------------------------------------
  More new features than ever. Check out the new 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 jeff.newberry at gmail.com  Fri Feb 15 08:42:52 2008
From: jeff.newberry at gmail.com (Jeff Newberry)
Date: Fri, 15 Feb 2008 08:42:52 -0500
Subject: [New-Poetry] Reading Tonight
Message-ID: <731bb17a0802150542q3ba03ddv7a2f854cad08812f@mail.gmail.com>

For those in the South GA/North FL area:

I'll be giving a
reading<http://www.finishinglinepress.com/meettheauthors.htm>in
Valdosta this Friday night, February 15, 2008, at 6:30
p.m.

The reading will feature four writers:  John
Guzlowski<http://everythings-jake.blogspot.com/>(poetry), Dean
Poling <http://www.deanpoling.com/> (nonfiction), Matt Flumerfelt (poetry),
and me (poetry, of course).  The reading will be at City Market in Downtown
Valdosta on the corner of Patterson and Hill Ave.  The address is 101 N
Patterson Street.

I'll be reading from my soon-to-be-relased chapbook, A Visible Sign.

I'd love to see you there if you're interested.



Best,
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
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From Opus40-01 at opus40.org  Fri Feb 15 09:31:11 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Fri, 15 Feb 2008 09:31:11 -0500
Subject: [New-Poetry] Reading Tonight
In-Reply-To: <731bb17a0802150542q3ba03ddv7a2f854cad08812f@mail.gmail.com>
References: <731bb17a0802150542q3ba03ddv7a2f854cad08812f@mail.gmail.com>
Message-ID: <47B5A22F.8040002@opus40.org>

Break a leg, Jeff!

Jeff Newberry wrote:
> For those in the South GA/North FL area:
>
> I'll be giving a reading 
> <http://www.finishinglinepress.com/meettheauthors.htm> in Valdosta 
> this Friday night, February 15, 2008, at 6:30 p.m.
>
> The reading will feature four writers:  John Guzlowski 
> <http://everythings-jake.blogspot.com/> (poetry), Dean Poling 
> <http://www.deanpoling.com/> (nonfiction), Matt Flumerfelt (poetry), 
> and me (poetry, of course).  The reading will be at City Market in 
> Downtown Valdosta on the corner of Patterson and Hill Ave.  The 
> address is 101 N Patterson Street.
>
> I'll be reading from my soon-to-be-relased chapbook, A Visible Sign.
>
> I'd love to see you there if you're interested.
>
>
>
> Best,
> 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
>   

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

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From jeff.newberry at gmail.com  Fri Feb 15 09:41:40 2008
From: jeff.newberry at gmail.com (Jeff Newberry)
Date: Fri, 15 Feb 2008 09:41:40 -0500
Subject: [New-Poetry] Reading Tonight
In-Reply-To: <47B5A22F.8040002@opus40.org>
References: <731bb17a0802150542q3ba03ddv7a2f854cad08812f@mail.gmail.com>
	<47B5A22F.8040002@opus40.org>
Message-ID: <731bb17a0802150641h6b28e1b2u11e6465f82baa9fb@mail.gmail.com>

Don't mention the Scottish play!

Wait . . . I think I just seriously mixed my metaphors into some kind of
nerve gas toxin.

Thanks, Tad.

Jeff

On Fri, Feb 15, 2008 at 9:31 AM, TheOldMole <Opus40-01 at opus40.org> wrote:

> Break a leg, Jeff!
>
> Jeff Newberry wrote:
> > For those in the South GA/North FL area:
> >
> > I'll be giving a reading
> > <http://www.finishinglinepress.com/meettheauthors.htm> in Valdosta
> > this Friday night, February 15, 2008, at 6:30 p.m.
> >
> > The reading will feature four writers:  John Guzlowski
> > <http://everythings-jake.blogspot.com/> (poetry), Dean Poling
> > <http://www.deanpoling.com/> (nonfiction), Matt Flumerfelt (poetry),
> > and me (poetry, of course).  The reading will be at City Market in
> > Downtown Valdosta on the corner of Patterson and Hill Ave.  The
> > address is 101 N Patterson Street.
> >
> > I'll be reading from my soon-to-be-relased chapbook, A Visible Sign.
> >
> > I'd love to see you there if you're interested.
> >
> >
> >
> > Best,
> > 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
> >
>
> --
> Tad Richards
> http://www.opus40.org/tadrichards/
> http://opusforty.blogspot.com/
>
> The moral is this: in American verse,
> The better you are, the pay is worse.
>  --Corey Ford
>
> _______________________________________________
> 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 Opus40-01 at opus40.org  Fri Feb 15 14:33:00 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Fri, 15 Feb 2008 14:33:00 -0500
Subject: [New-Poetry] Yuppies in Paradise
Message-ID: <47B5E8EC.9070206@opus40.org>

The URL for Yale University Press is Yupbooks.

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

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From anny.ballardini at tin.it  Fri Feb 15 15:14:52 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Fri, 15 Feb 2008 21:14:52 +0100
Subject: [New-Poetry] Yuppies in Paradise
In-Reply-To: <47B5E8EC.9070206@opus40.org>
References: <47B5E8EC.9070206@opus40.org>
Message-ID: <11369E74DF384D688563172C668C3921@AnnyPC>

What a wonderful URL! Thank you Tad, very nice of you, we like phantom urls, 
they keep the virtual intact, especially if they are in Paradise, :-)

From: "TheOldMole" <Opus40-01 at opus40.org>
Sent: Friday, February 15, 2008 8:33 PM


> The URL for Yale University Press is Yupbooks.
>
> -- 
> Tad Richards
> http://www.opus40.org/tadrichards/
> http://opusforty.blogspot.com/
>
> The moral is this: in American verse,
> The better you are, the pay is worse.
>  --Corey Ford
>
> _______________________________________________
> 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 Feb 16 10:31:44 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 16 Feb 2008 10:31:44 EST
Subject: [New-Poetry] The thesauragram.
Message-ID: <caa.221fee5d.34e85be0@aol.com>

Ez takes a whack at it...
 
 
The Bloody Wheelbarrow
 

Of no
matter
 
a wheelbarrel full 
of blood
 
in a greasy rain
near the 

matronly  poultry
dead-white



**************The year's hottest artists on the red carpet at the Grammy 
Awards. Go to AOL Music.      
(http://music.aol.com/grammys?NCID=aolcmp00300000002565)
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From Opus40-01 at opus40.org  Sat Feb 16 11:24:31 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Sat, 16 Feb 2008 11:24:31 -0500
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <caa.221fee5d.34e85be0@aol.com>
References: <caa.221fee5d.34e85be0@aol.com>
Message-ID: <47B70E3F.2090402@opus40.org>

The one my students have fun parodying, and occasionally come up with 
wonderful results, is the one where he eats the plums.

JforJames at aol.com wrote:
> Ez takes a whack at it...
>  
>  
> The Bloody Wheelbarrow
>  
>
> Of no
> matter
>  
> a wheelbarrel full
> of blood
>  
> in a greasy rain
> near the
>  
> matronly poultry
> dead-white
>
>
>
> ------------------------------------------------------------------------
> The year's hottest artists on the red carpet at the Grammy Awards. AOL 
> Music takes you there. 
> <http://music.aol.com/grammys?NCID=aolcmp00300000002565>
> ------------------------------------------------------------------------
>
> _______________________________________________
> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From anny.ballardini at tin.it  Sat Feb 16 11:38:35 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sat, 16 Feb 2008 17:38:35 +0100
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <caa.221fee5d.34e85be0@aol.com>
References: <caa.221fee5d.34e85be0@aol.com>
Message-ID: <1E5B230827704C5CB88C32419FD02DB1@AnnyPC>

:-) too much, thanks for bringing it up _

in the meantime for those who love ebooks, see what I just found:
http://www.harrold.org/rfhextra/books.html

some goodies!
  ----- Original Message ----- 
  From: JforJames at aol.com 
  To: new-poetry at wiz.cath.vt.edu 
  Sent: Saturday, February 16, 2008 4:31 PM
  Subject: Re: [New-Poetry] The thesauragram.


  Ez takes a whack at it...


  The Bloody Wheelbarrow


  Of no
  matter

  a wheelbarrel full 
  of blood

  in a greasy rain
  near the 
   
  matronly poultry
  dead-white





------------------------------------------------------------------------------
  The year's hottest artists on the red carpet at the Grammy Awards. AOL Music takes you there.


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


  _______________________________________________
  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 halvard at earthlink.net  Sat Feb 16 12:13:33 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Sat, 16 Feb 2008 11:13:33 -0600
Subject: [New-Poetry] The thesauragram.
In-Reply-To: <47B70E3F.2090402@opus40.org>
References: <caa.221fee5d.34e85be0@aol.com> <47B70E3F.2090402@opus40.org>
Message-ID: <151ADEE4-85B6-4929-B670-5C8E02DBECCD@earthlink.net>

Kenneth Koch level, no doubt.

Hal

"[News is] what somebody doesn't want you to know.
  All the rest is advertising."
                       --Dan Rather

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 Feb 16, 2008, at 10:24 AM, TheOldMole wrote:

> The one my students have fun parodying, and occasionally come up  
> with wonderful results, is the one where he eats the plums.
>
> JforJames at aol.com wrote:
>> Ez takes a whack at it...
>>  The Bloody Wheelbarrow
>>
>> Of no
>> matter
>> a wheelbarrel full
>> of blood
>> in a greasy rain
>> near the
>> matronly poultry
>> dead-white
>>
>>
>>
>> ------------------------------------------------------------------------
>> The year's hottest artists on the red carpet at the Grammy Awards.  
>> AOL Music takes you there. <http://music.aol.com/grammys?NCID=aolcmp00300000002565 
>> >
>> ------------------------------------------------------------------------
>>
>> _______________________________________________
>> 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/
>
> The moral is this: in American verse,
> The better you are, the pay is worse.
> --Corey Ford
>
> _______________________________________________
> 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 Feb 16 13:09:03 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 16 Feb 2008 13:09:03 EST
Subject: [New-Poetry] Fwd: Drunken Boat Announces Issue#9! 
Message-ID: <c75.26b744be.34e880bf@aol.com>





**************Ideas to please picky eaters. Watch video on AOL Living.      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)
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Subject: Drunken Boat Announces Issue#9! 
Date: Fri, 15 Feb 2008 12:45:46 -0500
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From halvard at earthlink.net  Sat Feb 16 19:29:00 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Sat, 16 Feb 2008 18:29:00 -0600
Subject: [New-Poetry] RIP: The Alban Berg Quartet
Message-ID: <D10559CF-A209-421F-BE6C-8989066B6F57@earthlink.net>



One of the highlights of my first year in Europe (1972) was hearing
the Alban Berg Quartet play in Salzburg. It must have been one of
their first seasons. Now they're beginning their last, so if you have
a chance to hear them somewhere don't miss it. They're one of the
great string quartets.

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article3327959.ece

Hal

"You are at the highest level. There are no
  folders above this one."
			--a Microsoft message

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

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From anny.ballardini at tin.it  Sun Feb 17 06:48:10 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 17 Feb 2008 12:48:10 +0100
Subject: [New-Poetry] pioneering
Message-ID: <A34F18AB910F4511882134112FDDC520@AnnyPC>

through to David Byrne's radio:
http://www.davidbyrne.com/radio/index.php



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

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! 
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From Opus40-01 at opus40.org  Sun Feb 17 10:36:56 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Sun, 17 Feb 2008 10:36:56 -0500
Subject: [New-Poetry] pioneering
In-Reply-To: <A34F18AB910F4511882134112FDDC520@AnnyPC>
References: <A34F18AB910F4511882134112FDDC520@AnnyPC>
Message-ID: <47B85498.4000304@opus40.org>

This is great.

Anny Ballardini wrote:
> through to David Byrne's radio:
> http://www.davidbyrne.com/radio/index.php
>  
>  
> ------------------------------------------------------------------------
> 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!
> ------------------------------------------------------------------------
>
> _______________________________________________
> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From JforJames at aol.com  Sun Feb 17 16:16:58 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 17 Feb 2008 16:16:58 EST
Subject: [New-Poetry] Flash: Some singers sing nonsense & some poets too)
Message-ID: <d47.20eb41f6.34e9fe4a@aol.com>

_http://www.spinner.com/2008/02/13/beck-admits-to-lyrical-nonsense/_ 
(http://www.spinner.com/2008/02/13/beck-admits-to-lyrical-nonsense/) 
 
Next, the singer revealed that some of his lyrics are total nonsense. 'The  
New Pollution'? 'Devil's Haircut'? "Most of the vocals on the record were  
scratch vocals," he told Rolling Stone. "We just grew attached to them."  




**************Ideas to please picky eaters. Watch video on AOL Living.      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)
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From JforJames at aol.com  Sun Feb 17 16:56:35 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 17 Feb 2008 16:56:35 EST
Subject: [New-Poetry] Metaphorica
Message-ID: <c6d.20c52521.34ea0793@aol.com>

 
In a message dated 2/14/2008 10:49:23 AM Eastern Standard Time,  
grahamd at ripon.edu writes:

Cultural & natural metaphors, as I see it, don't go "dead,"  typically, 
unless they're presented too baldly or simplistically.  If you  simply write that 
"time is money," that's obviously stale; but if you work up  some economic 
metaphors to describe time passing, that can be fine if you find  fresh ways to 
put it.  


The other sort of metaphor, which generally calls more attention to  itself, 
goes dead rather quickly when overused; it becomes a pre-fab phrase or  idea, 
like "bat out of hell," which when first coined was probably a stunner.  As 
was "the bottom line" when I first heard it. . .  .



-
I like the distinction you're making. Bob mentioned symbol. I would say  
archetype underlies most images that defy time...don't wear out. But as the  
ultra-talkers are wont to prove, you make some pretty stunning stuff out things  
that have 'expiry date' stamped on them somewhere. Another hundred years from  
now, if the poems survive, they'll need footnotes, but in the meantime they 
open  our eyes (ears, nose, all senses) to the world about us, which is  probably 
their raison d'?tre.
 
Here's a metaphoric image that has made it, thus far...
 
The poplars felled; farewell to the shade,
And whispering sounds of the cool colonnade.
 
>From Cowper's "The Poplar-Field." These lines were cited in the first  
chapter to Jonathan Bate's The Song of the Earth, a book that is largely about  
ecopoetics as it has become to be understood in the West, during Post-Industrial  
age. Unless all the colonnades fall to ruin, the comparison of line of  
poplars to a colonnade will last. So this metaphor straddles the cultural and  the 
natural. The natural part residing in the apt comparison. 
 
All I can remember from Hall's essay about "Dead Metaphors" was that he  
thought they shouldn't be used in poetry (presumably contemporary poetry, poetry  
being written concurrently with his essay). To criticize metaphors that have  
become dead would be obtuse. But as I suggested above, one should be able to  
tell which metaphors are likely to spit in the eye of time. The other thing I  
would conjecture is that one of the tasks of a poet is to  redeem words, 
phrases, that have been lost, that have slipped into  'non-poetic realms', whether 
lost to time (anachronistic), lost to commerce,  lost to advertising, lost to 
psychology, lost to  cliche/idiom, lost anywhere. That's what poets do: We 
don't give up on  words or phrases. 
 
Finnegan



**************Ideas to please picky eaters. Watch video on AOL Living.      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)
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From Opus40-01 at opus40.org  Mon Feb 18 14:35:50 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Mon, 18 Feb 2008 14:35:50 -0500
Subject: [New-Poetry] Wise Geeks
Message-ID: <47B9DE16.8000304@opus40.org>

For any of you in the professorial biz, if your students need brief but 
very good introductions to various schools of critical theory, refer 
them to wisegeek.com, which does the job better than any place I've seen.

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

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From JforJames at aol.com  Mon Feb 18 17:48:35 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Mon, 18 Feb 2008 17:48:35 EST
Subject: [New-Poetry] Fwd: First Book of Poetry Contest and the Compleat
	Manuscript Poetry Conference
Message-ID: <c16.308ed2f7.34eb6543@aol.com>





**************Ideas to please picky eaters. Watch video on AOL Living.      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)
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Subject: First Book of Poetry Contest and the Compleat Manuscript Poetry	Conference
Date: Mon, 18 Feb 2008 17:15:18 -0500 (EST)
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From jforjames at aol.com  Mon Feb 18 19:44:30 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 18 Feb 2008 19:44:30 -0500
Subject: [New-Poetry] Almodovar films story of poet jailed
Message-ID: <8CA40A7B8E1A4E9-1780-A23@webmail-db08.sysops.aol.com>


http://www.independent.co.uk/news/europe/almodovar-films-story-of-poet-jailed-by-franco-783551.html 

Almodovar films story of poet jailed by Franco
Spanish film director Pedro Almodovar released an album in December

?
=Monday, 18 February 2008 


Pedro Almodovar, the Oscar-winning Spanish director famed for his colourful and frenetic sex comedies, is to film the tender autobiography of a communist poet who spent 23 years in prison during the darkest years of the Franco dictatorship.


Marcos Ana, now 88, was 19 when General Francisco Franco had him thrown in jail in 1939.


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From anny.ballardini at tin.it  Tue Feb 19 04:52:21 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Tue, 19 Feb 2008 10:52:21 +0100
Subject: [New-Poetry] Fw: eps 119: juan gelman, premio cervantes 2007
Message-ID: <8D7A81AB0E67478991FA62541BA291B0@AnnyPC>

I know that Halvard Johnson might be interested, don't know if any other people are. If mails like these are a nuisance for the list, please let me know and I might forward directly to Hal.





      n119
      [31.01.08] elpoemaseminal juan gelman, premio cervantes 2007 

 
atisbos
 
Juan Gelman y la nueva poes?a hispanoamericana
Miguel Correa Mujica
 
      L 
a poes?a latinoamericana experiment? una profunda transformaci?n a partir de la segunda mitad del siglo XX. Tan radicales fueron esos cambios que podemos hablar de una renovaci?n no s?lo del concepto de poes?a sino hasta de su prop?sito y sus formas. Juan Gelman es uno de los exponentes m?s tempranos de esa poes?a renovada, o como la cr?tica ha convenido en llamarla, nueva poes?a. Tambi?n intentaremos explicar la evoluci?n del modelo nerudiano de poes?a hacia el de la nueva poes?a, con caracter?sticas y valores propios. 
 
El universo po?tico de Pablo Neruda
Hemos considerado importante comenzar por tratar de definir los conceptos que de poes?a y de poeta sustentaba Pablo Neruda. Estos ayudan a explicar, en gran medida, la esencia de toda su obra po?tica en tanto producci?n can?nica, pero adem?s arroja luz sobre lo que toda una ?poca entend?a por tales conceptos. En su libro Fundadores de la nueva poes?a latinoamericana, Sa?l Yurkievich emite una definici?n de Pablo Neruda que, a pesar de su tono un tanto metaf?rico, nos ha parecido ?til para intentar abordar y esclarecer el mundo po?tico del escritor chileno. Nos dice Yurkievich:
 
La confusa absorci?n del cosmos, ese dinamismo arremolinado, ese torbellino de fuerzas en continua mutaci?n constituyen la intuici?n fundamental de Neruda, una intuici?n oscura que nos retrotrae a una modalidad preformal de la materia, a lo larval, a lo germinal, a la poluci?n de vida primigenia, a la nebulosa originaria.(...) Para Neruda la poes?a es una misteriosa transferencia natural, un efluvio proveniente de abajo, de un n?cleo de energ?a radiante del cual el poeta act?a como intermediario (...) (bastardillas nuestras) (166)
 
Guillermo Sucre tambi?n intenta definir a Pablo Neruda en su libro La m?scara, la transparencia, pero a partir de los textos po?ticos nerudianos. Nos dice Sucre al respecto: "(Neruda) es un poeta densamente terrestre, cuya visi?n parece surgir de una oscuridad primordial" (338). Esa oscuridad primordial de Guillermo Sucre se asemeja mucho a la nebulosa originaria de Yurkievich. Ambos cr?ticos coinciden en que Neruda conceb?a los or?genes de la poes?a (y los del poeta) casi como una condici?n metaf?sica, llegada desde otra dimensi?n, engendrada en un plano sobrehumano, en un M?s All? m?stico, muy cercano a lo divino, a lo inalcanzable. Podemos decir que en esta medida compart?a con Vicente Huidobro ese concepto misterioso y secreto que deb?a sustentar la poes?a. Huidobro se consideraba, en tanto poeta, como una especie "de peque?o dios". Su Altazor es una muestra inequ?voca de los or?genes esot?ricos que el poeta sospechaba tener.
Estamos de acuerdo tanto con la definici?n de Sa?l Yurkievich como con la de Guillermo Sucre en lo esencial: Neruda consideraba que el poeta era una especie de m?dium con la capacidad de recoger ciertos mensajes o c?digos que de la naturaleza -o del universo- emanaban. El poeta, no cualquier ser humano, era el ente seleccionado para descodificar esos mensajes. De ese modo de concebir el fen?meno po?tico se desprende que para Neruda ser poeta no es simplemente una vocaci?n, ni siquiera un talento, sino m?s bien una suerte de predestinaci?n inapelable y grandiosa: el poeta era escogido por la providencia, por los dioses o la divinidad para recibir, en calidad de antena o recept?culo, los mensajes trascendentales del universo. De ah? la fuerza, el empuje, la redoblada fe de y en su poes?a. Sospechamos que de esta forma de entender lo po?tico deviene, en gran medida, la creencia de Neruda en la poes?a como entidad capaz de transformar la sociedad y por consiguiente, el mundo.
Si la poes?a tiene or?genes divinos, esot?ricos y poderosos, entonces ella ha de poder cambiar la sociedad organizada en el mundo f?sico, lugar tan lleno de desigualdades, injusticias y dolor. Es comprensible entonces que la poes?a de Neruda haya agregado el cap?tulo socio-pol?tico a su agenda. Esta adici?n se avino perfectamente con el momento hist?rico por el que atravesaba el mundo de la ?poca: hacia finales de la d?cada de los 50 triunfa una revoluci?n de porte socialista en Cuba; en los 60, los norteamericanos invaden nuevamente la Rep?blica Dominicana; estalla el movimiento hippie en las democracias occidentales y los poetas beatnik en los Estados Unidos (Allen Ginsberg y Gregory Corso, entre otros) ensayan nuevas y revolucionarias formas en la poes?a norteamericana. La poes?a de Neruda se mov?a a sus anchas en la convulsi?n de los tiempos.
 
Un canto generalmente can?nico
Nos dice Olivio Jim?nez en la Antolog?a de la poes?a hispanoamericana contempor?nea que el estallido y desarrollo de la guerra civil espa?ola, de la que Neruda fue un testigo presencial, marc? el inicio de otra de las etapas nerudianas: de esta experiencia resultar? una poes?a que har? una especie de praxis entre la poes?a tradicional y la militante. Nos dice textualmente Olivio Jim?nez: "De esta conversi?n, po?tica y pol?tica, (se adherir? despu?s al partido comunista), surge una poes?a de aliento ?pico, ideol?gicamente comprometida, te?ida de consignas, aunque dignificada por su gran amor a Espa?a, a Am?rica, al hombre universal. Canto General es el libro m?s importante de esta zona" (bastardillas nuestras) (298-99).
La poes?a que recibi? el mundo en Canto general era una poes?a comprometida con las causas del socialismo. Pero circunscribir a Neruda dentro de par?metros tan fijos e inapelables como los socialistas ser?a limitarlo enormemente. Porque ese compromiso no lo puso en funci?n ?nica y exclusivamente de la defensa partidista de los enunciados b?sicos del socialismo sino tambi?n a favor de toda una filosof?a ontol?gica que resaltaba la importancia del hombre. Observemos el tono de ese poemario clave, Canto general, del cual hemos escogido un fragmento perteneciente al poema "Alturas de Machu Picchu", poema que por s? s?lo ha hecho una verdadera carrera triunfal y que aparece incluido en la Antolog?a de la poes?a hispanoamericana contempor?nea de Olivio Jim?nez:
 
XII
Sube a nacer conmigo, hermano.
Dame la mano desde la profunda 
zona de tu lugar diseminado.
No volver?s al fondo de las rocas.
No volver?s del tiempo subterr?neo.
No volver? tu voz endurecida.
No volver?n tus ojos taladrados. (...) (313)
 
Ese fragmento es suficiente para darnos cuenta de la alianza de clases que le tiende el poeta a los despose?dos. Indiscutiblemente, la voz l?rica de este poema es la del poeta hablando a las multitudes, a las clases sociales m?s empobrecidas. N?tese tambi?n c?mo el poeta se ve a s? mismo en un plano elevado, superior, desde donde intentar? rescatar a los de abajo, a los que est?n en la profunda zona, en el subsuelo, sin acceso a otras latitudes m?s equilibradas ni al elevado pedestal del poeta.
 
Devenir de Juan Gelman, el hombre
Es casi imposible hablar de la poes?a de Juan Gelman sin referirse de alguna forma a su vida. Este es uno de esos hombres en que vida y actividad creadora van unidas, ambas forman una especie de alianza inseparable. Tambi?n podr?a hablarse de una vida complementada por la literatura, y a?n m?s, por la poes?a: es en la p?gina en blanco, en el poema, donde parece verdaderamente residir la actividad pol?tica, social e intelectual del poeta argentino. El ingreso de Gelman en la literatura se puede fijar con alguna exactitud: la d?cada de los 50, cuando el joven poeta se asoci? con otros j?venes alrededor de la revista "Muchachos". A mitad de la d?cada funda, con David Alvares Morgade, el grupo literario El Pan Duro, cuyos miembros abogaban por una poes?a ligada al accionar pol?tico. Gelman empieza a publicar en 1956. Su primer libro de poemas se titul? Viol?n y otras cuestiones.
El Pan Duro tiene su apogeo en una ?poca pol?ticamente convulsa: son los a?os del Mayo Franc?s, Tlatelolco, Viet Nam, Argelia, la Revoluci?n cubana y la intervenci?n norteamericana en Santo Domingo. Aunque la preocupaci?n pol?tica de los miembros de El Pan Duro fue bastante heterog?nea, es evidente que tuvieron entre s? muchos rasgos comunes: el rescate de los temas citadinos, el ritmo o cadencia tanguera, el uso prioritario de un lenguaje coloquial en poes?a, el entronque de lo est?tico con lo pol?tico. En general podemos decir que la juventud de los a?os 60 se propuso conquistar un humanismo sin ataduras, sin prejuicios viciados, y en el intento dejaron una visible huella en la historia de Occidente. Juan Gelman form? parte de esa juventud inconforme y so?adora. Fue sin duda un joven de su tiempo, vibrando al centro de sus circunstancias, como hubiera dicho Jos? Ortega y Gasset.
El discurso po?tico de Juan Gelman se distingui? desde el comienzo por un radicalismo avasallador. Era la suya una poes?a peligrosamente atrevida en sus planteamientos m?s esenciales, una sentida inconformidad, una suerte de grito a todo pulm?n, a pesar de las consecuencias que el gritar de ese modo pod?a acarrearle al autor. No es de extra?ar que Gelman fuera a la c?rcel por lo menos en dos ocasiones. Tambi?n conocer?a, a?os m?s tarde, el exilio.
Ya en esa ?poca -a?os 60- Gelman contaba con una voz y una estatura po?tica definida. Veamos lo que nos dice Jorge Boccanera al respecto en su libro Confiar en el misterio: "Si para algunos cr?ticos la poes?a de Gelman de ese tiempo no pasaba de cierto rescate de elementos populares y la revitalizaci?n de un argot ciudadano, hubo quienes arriesgaron un poco m?s al ubicarlo como uno de los representantes m?s destacados de las ?ltimas promociones" (33).
No cabe duda que ya desde Viol?n y otras cuestiones ven?a inoculado el germen de la ruptura con la poes?a precedente, de porte nerudiano y tendencia whitmaniana. La poes?a de Gelman -y por extensi?n la del grupo El Pan Duro- subscribi? temas que ca?an dentro de lo cotidiano, "con un lenguaje m?s cerca del habla que de la lengua, prosa?smo intencionado, simulaci?n y parodia, elemento l?rico con carga anecd?tica, jadeo interrumpido por el relampagueo de las im?genes, met?foras trenzadas dentro de los l?mites de la paradoja" (Boccanera 35). Esta afirmaci?n de Boccanera nos asiste en el intento por probar que el discurso gelmaniano se apart? desde sus comienzos del tradicional discurso nerudiano. La aparici?n de Got?n en 1963 es la confirmaci?n de esa ruptura.
Got?n sale a la luz en un per?odo hist?rico que frecuentemente se ha llamado neo-humanismo en literatura. En su ensayo "La poes?a de Juan Gelman o la ternura desatada", Hugo Achugar interpreta el neo-humanismo de los a?os en que aparece Got?n de este modo: "Se ven?a a proponer un modo de ser, as? en la poes?a como en la vida social. Se trataba de transformar el mundo y no de transformar el mundo con la palabra. No alcanzaba con interpretar o expresar el mundo y la palabra, precisamente, era necesario transformar mundo y palabra" (bastardillas nuestras) (25).
No perdamos de vista el a?o en que apareci? la edici?n pr?ncipe de Got?n: 1963. No se hab?an disipado todav?a las im?genes ardientes de las explosiones at?micas sobre el Jap?n, ni las de la guerra en Corea y Argelia; a?n lat?a en el aire la proclamaci?n del car?cter socialista de la Revoluci?n cubana. En literatura, segu?a disuelto en el subconsciente colectivo el principio nerudiano de que la poes?a pod?a cambiar el mundo.
Los poetas hispanoamericanos, conscientes de ello, tambi?n pretend?an cambiar el mundo desde la poes?a para lo que asumieron el principio nerudiano al que nos referimos, pero le agregaron otro ingrediente que tambi?n deb?a cambiar: la palabra. En su trabajo "La poes?a de Juan Gelman o la ternura desatada", Hugo Achugar expone brillantemente en qu? se diferencia esencialmente la poes?a anterior de la nueva poes?a hispanoamericana. Dada su importancia, citaremos al cr?tico en toda su extensi?n:
 
(...) la nueva poes?a reclamaba un presente in?dito. Gelman, pero tambi?n Nicanor Parra, Ernesto Cardenal, Roque Dalton, Antonio Cisneros, Benedetti, Fern?ndez Retamar y otros muchos, comenzaban a apostar a una l?rica de lo cotidiano, de lo hist?rico, y sobre todo, de lo social. (...) Apuesta que disputaba la hegemon?a nerudiana de una l?rica exuberante y rechazaba en Canto general y en Odas elementales lo que la ret?rica deb?a a su dicci?n anterior. Apuesta que rechazaba la poes?a social de los treinta y de los cuarenta en lo que de expl?cito o de cartilla ten?an; apuesta que encumbraba tanto al Vallejo de Poemas humanos y Espa?a, aparta de m? este c?liz como al de Trilce. Apuesta que se regodeaba con el Altazor de Huidobro pero buscaba atm?sferas y espacios po?ticos que hicieran bien com?n los nuevos territorios que la vanguardia hab?a ganado con excelencia mediante la dificultad. (bastardillas nuestras) (27)
 
Queda claramente expuesto en lo arriba citado que la nueva poes?a deb?a negar la poes?a establecida para poder existir como tal, independiente, aut?ntica, precisamente para no convertirse en vieja poes?a.
El proyecto pol?tico de Gelman, esto es la posibilidad de cambiar el mundo desde la literatura, (y en particular, desde la poes?a) es muy similar al de Neruda: la gran diferencia radica en los modos con los que ese proyecto se tendr?a que ejecutar y a riesgo de qu?. A diferencia de Neruda y Guill?n, voceros empoltronados (dada la condici?n oficialista de ambos) y por lo mismo, fuera de todo peligro epocal, Gelman participa con vida y obra en el proyecto mismo. Gelman parece decirnos en Got?n que no s?lo debe cambiar la sociedad, el mundo y hasta la poes?a, sino que ?l, poeta y ser humano, se ha propuesto ese cambio desde su atalaya personal. Y en esto radica, a nuestro juicio, la gran diferencia entre la nueva y la vieja poes?a: el poeta no cantar? ya desde una confortable oficina acondicionada, ni desde la oficialidad, ni desde la condici?n de vaca sagrada (a prop?sito de esta ?ltima frase, con ella se conocer?an m?s tarde esos intelectuales inc?lumes) sino desde la trinchera, desde la afrenta y el peligro. El nuevo poeta comparte las vicisitudes y tragedias de millones de almas, entre las cuales la suya figura como una m?s. El concepto del origen celestial (nerudiano) de poeta escogido por la divinidad se ha derrumbado estrepitosamente. El poeta es un individuo que padece, ama y muere frente al transcurrir de la Historia, obsesi?n ?sta puesta al desnudo por otro de los poetas que integran la nueva poes?a, el cubano Heberto Padilla.
 
Got?n: sobre el texto
Una lectura preliminar de este libro muestra enseguida que una voz diferente se viene apoderando del discurso po?tico. No son las met?foras perfectas de Canto general, ni siquiera el ritmo contaminante del Son, sino una especie de discurso cotidiano, enfurecido a ratos, tierno despu?s, sarc?stico y esperanzador a veces, con un toque de humor en alguna ocasi?n. Acerqu?monos a uno de esos poemas que hemos seleccionado, al azar, de la secci?n "Final" de Got?n, al que Gelman no le da t?tulo aunque el ?ndice lo recoge con el nombre de la secci?n, "Final" (43)
 
Ha muerto un hombre y est?n juntando su sangre en cucharitas,
querido juan, has muerto finalmente.
De nada te valieron tus pedazos
mojados en ternura.
C?mo ha sido posible
que te fueras por un agujerito
y nadie haya ponido el dedo
para que te quedaras.
Se habr? comido toda la rabia del mundo
por antes de morir
y despu?s se quedaba triste triste
apoyado en sus huesos.
Ya te abajaron, hermanito,
la tierra est? temblando de ti.
Vigilemos a ver d?nde brotan sus manos
empujadas por su rabia inmortal.
 
An?lisis
El poema ilustra todo lo arriba expuesto. El discurso po?tico es otro: las palabras que componen el poema son sumamente cotidianas, de extracci?n popular, luciendo una sintaxis y una gram?tica deliberadamente deficientes. El poema alude al asesinato de un hombre que es inmediatamente asociado con Juan. Los dos primeros versos se prestan a variadas interpretaciones, pero deteng?monos por lo menos en dos. En primer lugar, el hecho de que haya muerto un hombre y que en el segundo verso ese hombre se identifique con Juan, nos hace pensar en el car?cter simb?lico del nombre en cuesti?n. Juan podr?a representar a cualquier hombre, a todos los hombres, pero tambi?n espec?ficamente a Juan Gelman, el poeta. A este juicio se suma el hecho de que el nombre Juan sea de extrema cotidianidad en el mundo hispanoamericano. Juan es tambi?n el ap?stol b?blico, asociaci?n simb?lica que abrir?a nuevos niveles interpretativos.
La voz l?rica parece ser de g?nero femenino; podr?a ser la de un familiar allegado, una hermana, biol?gica o de principios, tal vez una figura materna, una madre (a pesar de que en la ?ltima estrofa se refiera al hombre muerto como "hermanito"), acaso la Madre Patria, alguien no precisamente educado pero s? enormemente humanizado, omnipresente, alguien que de alguna forma ya vislumbraba el inevitable final. Incluso podr?a estarnos hablando el propio Juan Gelman. Pero, en todo caso, nos inclinamos por una voz l?rica femenina, de una gran bondad, ternura y fortaleza. Su tono, levemente ir?nico, duro, estoico, protector y materno, encierra una protesta ante la tragedia (ante la injusticia) del hombre asesinado. Es interesante observar el uso de diminutivos en el poema: hermanito, cucharita, agujerito, t?rminos que introducen la ternura del parlante, la cercan?a emotiva, el dolor ante el crimen presenciado. Nos sorprende la pasividad condenatoria de esta voz l?rica, con la que nos alerta de lo est?ril de toda explicaci?n razonable o legal a este hecho de sangre, a esta violaci?n de la santidad que debe portar la vida humana. Gelman no pudo haber escogido otra voz l?rica m?s id?nea que ?sta para comunicar su mensaje de frustraci?n e impotencia. La voz l?rica racionaliza la muerte que parece transcurrir frente a sus ojos. No hay aspavientos ni grandes conmociones: se trata indudablemente de una muerte esperada. Que la voz l?rica pareciera conocer de antemano sobre la inevitable muerte de Juan nos hace meditar sobre el espacio literario donde transcurre el poema, espacio literario y geogr?fico al parecer plet?rico de este tipo de actos criminales. El asesinato no ha sido el resultado de un acto disperso de violencia, sino de un crimen pol?tico: los dos ?ltimos versos nos empujan hacia esa interpretaci?n. Rele?moslos:
 
Vigilemos a ver d?nde brotan sus manos
empujadas por su rabia inmortal.
 
En estos dos ?ltimos versos sabemos m?s del hombre asesinado: la voz l?rica sabe que sus manos, esto es, su vida, renacer? por alguna parte. Es una alusi?n simb?lica a la inmortalidad de las ideas del asesinado, las que resurgir?n cuando otros hombres sigan su ejemplo. La rabia inmortal pasa de Juan a la voz l?rica, quien nos la inocula a todos nosotros.
El poema s?lo se asoma a la realidad que le precede, pero no la aborda, no la transcribe, precisamente porque es innecesario hacerlo. Abordarla hubiese implicado disminuir la tensi?n del poema y su profundo impacto en el lector. Ser? ese lector el encargado de construir la realidad omitida a partir de escasos s?mbolos verbales diseminados por el poema, pero sobre todo a partir de sus experiencias personales como lector ubicado en una ?poca. He aqu? la funci?n del lector en la nueva poes?a: la de construir el poema con una interpretaci?n mucho m?s extensa y exacta, y siempre desde su condici?n de c?mplice.
Es menester se?alar que el poeta tambi?n echa manos a varios interlocutores imaginarios en su discurso. El primer verso de la primera estrofa parece tener una funci?n de cintillo noticioso que anuncia, en tercera persona, un crimen. En los versos subsiguientes de la primera estrofa y en los de la segunda, la voz l?rica dialoga con el hombre asesinado, lo interpela en segunda persona del singular, confirmando con ello su cercan?a emocional o espiritual con el asesinado. En la tercera estrofa, el interlocutor a quien se dirige la voz l?rica cambia s?bitamente a la tercera persona del singular: la voz l?rica parece hablar para s?, pero tambi?n para todos nosotros, los lectores. En la ?ltima estrofa, la voz l?rica se dirige nuevamente al hombre asesinado (en segunda persona), pero los dos versos finales no est?n dirigidos a ?l sino a nosotros. Son esos dos versos capitales los que cierran el poema y los que nos producen -a nosotros, los lectores- una violenta sacudida.
Otra posible interpretaci?n, no por subjetiva menos interesante, podr?a ser desde la perspectiva de una premonici?n revelada o materializada en forma epistolar. El hecho de que haya muerto un hombre cuya sangre recogen "en cucharitas" y que a continuaci?n aparezca, entre comas, la expresi?n "querido juan" sugiere la posibilidad de una carta. Sin embargo, nos inclinamos con mayor fervor hacia el punto de vista de la madre (patria, biol?gica o simb?lica) dialogando con el cuerpo del hijo asesinado.
Por lo dem?s, a?adiremos que el espacio literario donde se desarrolla el poema es absolutamente urbano, citadino, caracter?stica com?n a la nueva poes?a. Es menester que as? sea. J. G. Cobo Borda nos dice en el pr?logo a su Antolog?a de la poes?a hispanoamericana que uno de los rasgos distintivos que asoma en la nueva poes?a es precisamente el contexto en que se desenvuelve el poema y que prevalece en la mayor?a de los temas: se trata de una poes?a medularmente urbana. Nos dice el cr?tico: "toda la poes?a latinoamericana del per?odo 1960-1980, en t?rminos amplios, se puede referir a esa dispersi?n irradiante que es la ciudad. Espacio propicio tanto para el amor (...) como para la tortura; para el redescubrimiento de la naturaleza, en la artificiosidad de los parques o en la creciente ola verde ecol?gica, como para el an?lisis de la propia conciencia, en la soledad a la cual se halla enfrentada". (bastardillas nuestras) (46)
Es evidente que el asesinato al que el poema alude ha ocurrido en la ciudad, en ese espacio propicio tanto para el amor como para la tortura.
 
Tangos e intertextualidad
En Got?n, Gelman abraza la intertextualidad conjugando discursos y hasta distintos niveles expresivos dentro de un mismo discurso, en los que mezcla lo literario y lo ordinario, el clich? y la ret?rica del tango. En este libro, el autor se asiste del sentimentalismo del tango no tanto para escamotear su mensaje (aunque tambi?n se dedica a revelar y a esconder) sino precisamente para urdirlo, para construirlo a partir de un sistema de valores nacionalmente reconocido, aceptado y amado. El nombre del poemario est? formado por las dos s?labas de la palabra tango al rev?s. Hugo Achugar nos dice en su ensayo "La poes?a de Juan Gelman" que Gelman se asiste en su poes?a de la ternura del tango para traspasar y asumir su realidad, ternura que el cr?tico califica de "sentimental y coqueta" (36). Esa ternura se convierte en recurso expresivo en la poes?a de Gelman, dado que el tango es portador par excellence de toda una filosof?a popular ante la existencia. 
Deteng?monos en el poema "Mi Buenos Aires querido", de Got?n, que muestra claramente la manipulaci?n de esa ternura, as? como el doble sentido de muchas frases insertadas en el formato del tango. El poema est? recorrido por una gran iron?a y por una atm?sfera pol?tico-subversiva dadas a trav?s de la intertextualidad discursiva:
 
Sentado al borde de una silla desfondada,
mareado, enfermo, casi vivo, 
escribo versos previamente llorados
por la ciudad donde nac?.
Atr?palos, atr?palos, tambi?n aqu?
nacieron hijos dulces m?os
que entre tanto castigo te endulzan bellamente.
Hay que aprender a resistir
Ni a irse ni a quedarse,
a resistir, 
aunque es seguro
que habr? m?s penas y olvido.
(bastardillas nuestras) (Got?n 23)
 
?Un tango? Sin lugar a dudas que s?, pero tambi?n un poema de Gelman dentro de la osamenta de un tango. He ah? un excelente ejemplo de una t?cnica empleada en pura funci?n del lenguaje y con resultados excelentes. Las implicaciones pol?tico-sociales de este poema son evidentes y no creemos necesario explicarlas en m?s detalles.
El tango, los h?roes populares, el culto a la personalidad, son recursos formales y expresivos de los que Gelman se ha asistido con cierta regularidad en su poes?a. Estos vienen --existen-- en un particular sistema de signos que los latinoamericanos comparten y dominan con cierta complicidad no s?lo ling??stica sino tambi?n hist?rica. Gelman utiliza, manipula esos recursos expresivos excepcionalmente, pues los sabe portadores de una enorme significaci?n extra-ling??stica. El lector va a comprender el mensaje po?tico no porque ?ste venga en un espa?ol clar?simo, sino porque el verdadero mensaje viene en el idioma que esos recursos han legado a todo un grupo humano, o sea en forma de valores, los que mejor puede comprender una comunidad ling??stica y culturalmente uniforme.
Un tango de Carlos Gardel es capaz de transmitirle a un latinoamericano mucho m?s de lo que su l?rica encierra: le transmite tambi?n una sabidur?a, una experiencia (de amor, de desenga?o, de malicia, de alegr?as o de penas) com?n a toda una regi?n ling??stica. Hasta el silencio tiene una significaci?n (o varias) en el tango, hasta el suspiro o el s?bito cese de un chasquido r?tmico.
El gran acierto (el gran aporte) de Juan Gelman radica en que, partiendo de una est?tica de lo cotidiano, de lo intrascendente, de lo popular, de lo marginal si se quiere, atrapado todo dentro del concepto del tango, la eleva a la categor?a de valor trascendente a trav?s de la iron?a y el humor, t?cnicas que lo salvan de caer en el clich? o en la repetici?n del discurso de partida. Gelman tambi?n a?ade una enorme dosis de sentimentalismo a sus poemas tangueros, sin lugar a dudas excesiva, salv?ndolos de lo cursi y de lo melodram?tico. Un poema tanguero de Gelman tiene la extra?a habilidad de llevarnos de la mano, en el confortable y conocido formato del tango, por un mundo po?tico in?dito en el que como lectores tenemos una funci?n muy concreta: la de construir la realidad po?tica omitida deliberadamente por el poeta.
Con la aparici?n en 1982 de su segundo libro de poemas en el exilio, Citas y comentarios, Gelman deja s?lidamente establecida la uni?n de lo literario con el tango popular, o sea la historia con lo sentimental. Si bien Got?n sirvi? para desmitificar y proponer nuevas acepciones a los conceptos de poeta y de poes?a, Citas y comentarios coloca a un mismo nivel la tradici?n cultural popular argentina (el tango) con la poes?a de los m?sticos espa?oles, recurso po?tico ?ste ?ltimo del que se sirve para unirse con lo ausente. Sin embargo, a diferencia de los m?sticos, Gelman no se ve como un elegido al que le es dado hacer contacto, sino como un hombre cualquiera que padece su momento hist?rico. Deteng?monos en el poema "comentario XVIII (gardel y lepera)" para ilustrar lo que decimos:
 
sucede que/de d?a/de noche/soy
el castigado por tu ausencia/vos linda como un sol/
y ten?s piececitos como dulce esperanza
que andan por mi saliva como
tus ojos/ so??ndome/olvid?ndome
sangr?ndome de adi?s/... (Olivera-Williams 176)
 
En este poema, Gelman recrea la soledad del poeta exiliado con la soledad que experimenta un an?nimo amante que ha perdido a su amada, pero siguiendo el modelo sentimental del tango. La praxis con la poes?a de los m?sticos espa?oles se ve todav?a con m?s claridad en el poema "Cita I (santa teresa): "porque sin vos/?qu? soy sino desastres?/?ad?nde voy a parar desviado de vos?/ misericordia m?a/sol m?o/sol que soleas en medio del amor" (Olivera-Williams 176). Como dijimos arriba, la uni?n con la poes?a m?stica espa?ola es un recurso po?tico.
 
Conclusiones
La poes?a de Juan Gelman se aparta del modelo nerudiano en boga en Hispanoam?rica a comienzos de la segunda mitad del siglo XX, creando con ello un nuevo tipo de poes?a que revierte concepciones tan sagradas y hasta ahora inamovibles como la del poeta y su funci?n, la de la poes?a y su lenguaje. La funci?n del lector y la intertextualidad discursiva abren nuevos espacios en los linderos expresivos de la poes?a. Es en esa medida que la poes?a de Juan Gelman ha sido sumamente innovadora y revolucionaria.
 
Obras consultadas
?         Achugar, Hugo. "La poes?a de Juan Gelman o la ternura desatada". Como temblor del aire. Ed. Lili?n Uribe. Montevideo: Vinten, 1995. 
?         Boccanera, Jorge. Confiar en el misterio. Buenos Aires: Sudamericana, 1994.
?         Dalmaroni, Miguel. Juan Gelman. Buenos Aires: Almagesto, 1993. 
?         Gatell, Angelina. Neruda. Madrid: EPESA, 1971. 
?         Gelman, Juan. Got?n. Buenos Aires: Horizonte, 1963. 
?         ----. C?lera Buey. Buenos Aires: La Rosa Blindada, 1971. 
?         ----. Relaciones. Buenos Aires: La Rosa Blindada, 1973. 
?         Gonz?lez Cruz, Luis F. Pablo Neruda, C?sar Vallejo y Federico Garc?a Lorca. Madrid: ANAYA, 1975. 
?         Jim?nez, Jos? Olivio, ed. Antolog?a de la poes?a hispanoamericana contempor?nea. Madrid: Alianza, 1981. 
?         Neruda, Pablo. Veinte poemas de amor. Bogot?: Seix Barral-Planeta Colombiana, 1985. 
?         Olivera-Williams, Mar?a Rosa. "Citas y comentarios, de Juan Gelman". Como temblor del aire. Ed. Lili?n Uribe. Montevideo: Vinten, 1995. 
?         Rodr?guez Monegal, Emir, ed. The Borzoi Anthology of Latin American Literature. New York: Knopf, Inc., 1977. 
?         Sucre, Guillermo. La m?scara, la transparencia. M?xico: Fondo de Cultura Econ?mica, 1985. 
?         Uribe, Lili?n. "Juan Gelman: poes?a sin interrupciones." Como temblor del aire, ed. Lili?n Uribe. Montevideo: Vinten, 1995. 
?         Yurkievich, Sa?l. Fundadores de la nueva poes?a latinoamericana. Barcelona: Barral, 1971. 
?         ----. "La violencia estremecedora de lo real", en Como temblor del aire. Ed. Lili?n Uribe. Montevideo: Vinten, 1995.
Esp?culo, n?m. 18, Universidad Complutense de Madrid, www.ucm.es/info/especulo/numero18/gelman.html
P?gina literaria de Miguel Correa: http://hometown.aol.com/correamcorrea/index.html
 
JUAN GELMAN, EL DOLOR TRANSFIGURADO (II)
 
      A 
hora que Gelman ha sido galardonado con el Premio Cervantes, precisamente cuando acaba de publicar su poemario Mundar, estas reflexiones adquieren una nueva dimensi?n: el poeta del exilio permanente es reconocido, en primer lugar, por las virtudes de su obra literaria, pero tambi?n (hay que decirlo) por su intransigencia ante la muerte. Acaso se est?n premiando ambas cosas en una o acaso ambas sean una, pero lo cierto es que al leer este nuevo poemario queda la sensaci?n, una vez m?s, de que se encuentra uno por primera vez con la ternura gelmaniana, con la forma en que pelea a palabrazos contra la muerte y la tristeza. Y es que, para quienes lo hemos seguido, al menos desde los a?os ochenta, Gelman sigue dejando constancia de su batalla experimental contra los resabios del dolor que lo ha agobiado sin descanso, pero tambi?n sin queja.
C?mo entender los m?ltiples pronunciamientos acerca de su poes?a, que de manera casi un?nimes repiten los lugares comunes: poes?a comprometida, exilio, guerrilla, luchas populares... En el texto aludido l?neas arriba, Rama sintetiza al respecto: "Es comprensible que uno de sus temas sea el de la supervivencia de la poes?a y su legitimidad en tiempo revolucionario. Confianzas y Hechos persuasivamente reflexionan sobre que ning?n endecas?labo acab? con un dictador pero simult?neamente reconocen la fatalidad de una escritura que no cesa ni debe cesar, el empecinamiento de la funci?n po?tica que aun en los lugares inh?spitos, aun constre?ida, no deja nunca de brotar, como dice en 'Poderes': "como una hierba como un ni?o como un pajarito nace la poes?a la torturan y nace la sentencian y nace la fusilan y nace la calor la cantora'".
Hab?a que estar cerca de sus versos para encontrarlos como ep?grafe en libros tan improbables como el de Leonardo Boff sobre el Padre Nuestro ("Oraci?n de un desocupado"), en los a?os m?s ?lgidos de la teolog?a de la liberaci?n, o en la cinta El lado oscuro del coraz?n, de Eliseo Subiela. Conmueve, claro est?, saber que Mar?a Macarena, la nieta que encontr? en Uruguay luego de tanto esfuerzo, se congratula por este premio que llega cuando el poeta se ha expresado a lo largo de su vida con una voz no solamente "inconfundible" (otro lugar com?n), sino tambi?n entra?able, en el sentido m?s literal, de entra?as, esto es, que se ha desgarrado las entra?as para extraer el canto que lo define. Es nuevamente Monsiv?is quien de manera inmejorable valora las alturas y profundidades de esta poes?a, pues a prop?sito del premio, observa que la poes?a de Gelman es "de una potencia l?rica considerable y, en ?ltima instancia, [est?] regida por una idea de Dios no afiliado a las religiones". Y afirma: "?l, escritor con rabia y desesperanza y denuncia, se da tiempo para reelaborar su experiencia pol?tica como poes?a, volviendo inconcebible el panfleto, y d?ndole a la indignaci?n moral la dignidad literaria que es, en s? misma, un sentimiento distinto. En el v?rtigo de esta poes?a, los s?mbolos y las im?genes, sin alejarse de su funci?n espec?fica, se extienden discretamente, e iluminan la "abierta oscuridad".
Mundar (2007), obviamente, es un verbo t?picamente gelmaniano, de esos que brotan en su hablar po?tico vallejiano, que alude a lo que debe hacerse siempre con el mundo para vivir: yo mundo, t? mundas, etc?tera. Mundar es estar en el mundo y dejarse llevar, no por la belleza que se sabe siempre relativa, sino por las cosas que se encuentran aqu?, mudas y silenciosas, pero tambi?n tr?gicas y terribles. En "Callar" lo dice sin ambages: "El manantial de vos/ cae como vino en la copa/ y el mundo calla sus desastres./ Gracias, mundo, por no ser m?s que mundo/ y ninguna ora cosa". Amor, desastre y lenguaje se conjugan sin grandilocuencia mediante una coloquialidad acompasante que avasalla la experiencia y la hace decir m?s de lo que "normalmente" dice, "se dice". El dolor va y viene de la boca a la calle; la ternura nace, muere y resucita; y el exilio se enreda con el ritmo de una poes?a que celebra todo lo que pasa sin aspavientos: El poeta munda todo el tiempo y se ancla mediante el lenguaje y el o?do atento en alg?n lugar de M?xico, D.F.: "Unas viejas sentadas en la calle/ hacen con suave n?huatl/ el pasado de esta tarde contra/ el fr?o de las casas desiertas" ("Tarde").
El sustrato eslavo del idioma po?tico de Gelman reaparece una y otra vez para dotar a sus versos de una cadencia inesperada: "El cerca lejos de/ tu despego sin alma/ resplandece en servicios de tu voz/ y la/ conciencia de lo amado" ("Descubrimientos"). Juan Gelman o el arte de hacer preguntas imposibles: "?Se hace sola la doble conciencia/ donde la huella brilla?/ ?Por qu? no creer en el sencillo/ callej?n de la espera?" ("Callejones"), "?qui?n podr?a nombrar al pasado/ de este presente seco?" (As?, as?"). A?os y a?os de interrogar al lenguaje, a la vida, de hacerles ver su suerte con todo o que dan, de hacerles decir, si no lo indecible, s? el fulgor de las dudas que acechan todo el tiempo. Lejos y cerca est? la b?squeda en el misticismo de San Juan de la Cruz (el "padre dulce"), Santa Teresa y otros m?s. Lejos y cerca tambi?n la indagaci?n en un idioma casi muerto (Dibaxu), traduci?ndose a s? mismo, como en los libros de heter?nimos o Los poemas de Sydney West, todo un pante?n variopinto y luminoso. Cerca, m?s bien, la hora de afrontar la muerte en todas sus formas. Aceptar, incluso, quiz? a destiempo, nadie lo sabe, que Dios existe, a duras penas, con un diminutivo muy mexicano: "Te fuiste, no dejaste/ que una luz te sacara/ de vos a la luz de tu luz./ Caen estrellas y est? triste/ Dios, que existe poquito" ("Envolturas"). Ecos de aquella interrogante sin respuesta: "?y si Dios fuera una mujer"?" ("Preguntas", Hacia el sur, 1982).
En suma, para captar algo de este ya vasto universo po?tico, de esta sintaxis ?nica y personal?sima, aquejada por tan intensa mundidad, tal vez habr?a que o?r al propio Gelman cuando introduce una antolog?a personal (En el hoy y ma?ana y ayer) con estas palabras: "Las maravillas y miserias del amor. Sus oscuros fulgores, sus cat?strofes. Caminar por el filo de la p?rdida. Dar lo que no se tiene. Recibir lo que no se da. El amor a la poes?a, a la madre, a la mujer, a los hijos, a los compa?eros que cayeron por una esperanza, a la belleza todav?a de este mundo. Como cualquier hombre, am? y amo todo eso. Algo de todo eso tal vez tiemble en los poemas que siguen, escritos a lo largo de 40 a?os. La muerte me ense?? que no se muere de amor. Se vive de amor".
(LC-O)
Letralia. Tierra de Letras, www.letralia.com/178/articulo08.htm
 
GANA JUAN GELMAN EL PREMIO CERVANTES 2007
 
M?xico, 29 de noviembre. El poeta argentino Juan Gelman, que gan? hoy el Premio Cervantes 2007, dijo que no siente una responsabilidad diferente a la de elaborar buenos textos porque vive para escribir poes?a. "A m? lo que me importa es el trabajo, no me importo yo. Vivo para escribir poes?a", sostuvo el poeta de 77 a?os, quien confes? que su primera reacci?n al enterarse que hab?a obtenido el galard?n fue "una gran emoci?n", que experiment? como una "suerte de conmoci?n".
"Mi primera reacci?n fue de sorpresa; por lo que le? en los peri?dicos, los distintos candidatos son todos exitosos y los admiro", se?al? el argentino, quien atendi? a una entrevista telef?nica desde alg?n punto de la capital mexicana cuya ubicaci?n prefiri? no revelar.
"No encuentro las palabras, es una emoci?n muy intensa, intens?sima", se?al? emocionado Gelman, radicado en Ciudad de M?xico, para quien el Premio Cervantes "coloquialmente" es un "premio Nobel de las letras espa?olas". Para el literato, el reconocimiento tiene mucho peso porque "significa Cervantes, significa el Quijote y las novelas ejemplares; en fin, much?simas cosas para un hombre que se ha pasado la vida leyendo a Cervantes".
Gelman sigue escribiendo porque dice que a su edad "m?s que una vocaci?n, es un vicio". "Yo no considero a la poes?a como una profesi?n, la poes?a es algo que llega cuando ella quiere y no es que uno la pueda invocar o convocar: nadie se sienta a escribir poemas porque quiere o porque se lo propone", advirti? el poeta, autor de poemarios como Dibaxu, Salarios del imp?o, Incompletamente, Valer la pena y Pa?s que fue ser?. A su juicio, la ?nica "verdadera carrera" profesional que ha desempe?ado es el periodismo, un medio con el que mantiene una estrecha relaci?n, ya que es columnista de un diario argentino y colaborador de algunos mexicanos.
Nacido en Buenos Aires en 1930, Gelman vivi? experiencias terribles, como el secuestro y asesinato de su hijo Marcelo y de su nuera Claudia, durante el r?gimen militar argentino. En este sentido, el prolijo escritor reconoci? que le toc? vivir una realidad muy cruda y dif?cil que no muchos han tenido que experimentar, lo que a la postre influy? en su trabajo. "Lo que mueve y crea obsesi?n en todo ser humano es la realidad misma. Lo que pasa es que cuando la realidad choca con el interior crea una especie de dentro-fuera, y si no... de ah? no sale poes?a".
Sin embargo, estableci? que "como dijo (Octavio) Paz, la autobiograf?a real de un poeta (y la suya propia) son sus obras". Por el anuncio del premio no modificar? su agenda para los pr?ximos d?as, asever?, raz?n por la cual la pr?xima semana dictar?, como lo ten?a pactado desde hace un tiempo, una conferencia en la Universidad de Guadalajara, en el marco de la C?tedra de Literatura Julio Cort?zar.
El vate argentino piensa que "la literatura en lengua espa?ola sigue gozando de buena salud", si bien considera que "hay cierta tendencia al inmediatismo que es casi negadora de la tradici?n", la cual, por fortuna, "no es una tendencia general". Gelman, que viaja frecuentemente a Argentina a visitar a sus nietos y familiares, manifest? que entre sus obras la que guarda un lugar m?s cercano a su coraz?n es "la que voy a escribir alg?n d?a".
 
El Financiero en l?nea, 29 de noviembre de 2007
 
ANTONIO COLINAS: 'EN LA POES?A DE JUAN GELMAN TIEMBLA Y HIERE LO HUMANO'
 
El poeta Antonio Colinas ha dicho a EFE que el nuevo premio Cervantes le parece 'una buena decisi?n', ya que en la poes?a de Juan Gelman 'tiembla y hiere lo humano de una manera conmovedora'. "Es un buen premio a una obra tierna y fuerte que, sin m?s, se caracteriza por su autenticidad", se?al? Colinas al conocer el nombre del galardonado.
Colinas elogi? su poes?a 'lib?rrima' en unos 'tiempos po?ticos m?s bien huecos y planos', en los que Gelman nos ofrece, dijo, 'el desgarro de esa humanidad sintiente y pensante'. Y consider? que en su obra y 'desde el compromiso m?s hondo' est? presente 'un di?logo con nuestra m?stica que proporciona a su po?tica un alto vuelo'.
Colinas recomienda a los lectores la antolog?a 'Oficio ardiente' (2005), as? titulada en honor a la consideraci?n que de la poes?a tiene Gelman, cuya edici?n cr?tica ha preparado la poeta y profesora de Salamanca Mar?a  Angeles P?rez L?pez, con un estudio previo 'muy iluminador' y una selecci?n 'muy bien hecha', seg?n el autor de Sepulcro en Tarquinia.
http://actualidad.terra.es
 
UN FUEGO QUE AFERVORA
Antonio Colinas
 
      P 
ara el poeta de hoy, rescatar el verso verdaderamente "nuevo" es siempre un reto y entra?a una dificultad a?adida, seguramente la primera de las pruebas que ser poeta valioso exige. Este logro me parece primordial en el caso de Juan Gelman: despu?s de tanta vanguardia natural o enga?osa, despu?s de tanto compromiso epid?rmico, el verso de Gelman es esa grieta a trav?s del cual el poeta contempla y nos revela la verdadera realidad, la otra realidad, la que sana y salva. 
Hay en la palabra doloridamente buscada y hallada de este poeta un desgarro y una autenticidad, ya desde aquella ?oraci?n? amorosa que aparece en los a?os 50 en un libro como El juego en que andamos hasta ese lib?rrimo torrente que son los poemas de Comentarios, en el que el h?lito inspirador teresiano, el vigoroso impulso de ra?z m?stica, fluye desde un humanismo tierno y fuerte a la vez, de un testimoniar extremadamente veraz. Para ello, Gelman hace del poema una "atm?sfera": fragmenta los t?tulos, se olvida de las may?sculas y de la puntuaci?n, quiebra cada verso en versos m?ltiples; de tal manera que el poema se convierte en un microcosmo de significaci?n m?ltiple.
Vino de vuelo Juan Gelman durante su ?ltimo viaje a Salamanca y no pude encontrarlo, pero en m? iban y conmigo quedaron sus versos, los le?dos hace a?os, pero sobre todo los avivados hoy como manantial en la espl?ndida antolog?a Oficio ardiente, que s?lo otro poeta, Mar?a ?ngeles P?rez L?pez, pod?a haber seleccionado y comentado con hondura. Hab?a aquel d?a del encuentro imposible fr?o en la ciudad, pero el lector llevaba dentro de s? ese calor de las palabras demasiado humanas, de los versos como encendidos, que afervoraban. Gelman se iba raudo a Madrid para las cosas de los hombres, pero entre las piedras humanas quedaba el fuego de esa otra humanidad que s?lo una poes?a como la suya puede transmitirnos. Muy lejos hab?a llegado el gemido doliente vallejiano y la ret?rica nerudiana, pero necesit?bamos este otro "tono" fraterno y en libertad que suponen los versos astillados, el mensaje de la poes?a de Gelman.
Incluso cuando el tiempo avanza y se adormecen sin morir los golpes de la vida, cuando sus versos son m?s breves y se adensan en un libro como Valer la pena, su palabra posee siempre esa fuerza que convence, esa oquedad g?lida o abismo infinito producido por el asalto de la muerte m?s cercana, que el poeta llena con palabras acalladas, humildes. Pero ?c?mo no comprender la fuerza de lo que desciende, el dolor que se abaja y que, al hacerlo, precisamente asciende como ?tortolitas?, como ?planeta de dulzuras?, como ?encerramiento del mundo?, como ?ya no dolor?? S?, hab?a fr?o aquel d?a, pero cada palabra de cada poema de la antolog?a era brasa que recobraba su color rojo, mensaje que ard?a otra vez para volver a entregarnos esa fe en la poes?a que, a veces, en nuestro saqueado tiempo, vamos perdiendo.
En definitiva, la poes?a de Juan Gelman resume un mensaje que llega desde muy atr?s y muy de lo hondo, que no ignora la tradici?n americana, pero que este poeta sabe refundar por los caminos del exilio, por las tierras de Europa, sus ra?ces, en las que el viaje se torna irremediablemente poema que salva, norte hacia el que todav?a -?todav?a!- puede dirigirse la nave del ser consciente de serlo; es decir, la del que asume y metamorfosea incluso la herida del dolor que no se puede cerrar nunca. 
La vida y la obra de Gelman provienen de una determinada sangre y de un determinado compromiso, de Poe y de Las Moradas, pero ha habido siempre un instante -ese de la creaci?n del poema- en el que el poeta ?expulsado de m?? y en un tiempo en el que ?se apagan los huesos?) es m?s ?l. Hab?a fr?o aquel d?a en Salamanca. El poeta me debe una dedicatoria en la p?gina blanca del libro de cubiertas negras. Yo le debo ese caudal de su poes?a que, en tiempos en que tiende a brillar lo vac?o-plano, llena nuestras vidas, nos permite recuperar la fe en la poes?a, en esas palabras que sin m?s (como ?fueguitos?, ha dicho ?l) a?n sanan y salvan.
 
Dossier de El Mundo (Espa?a): www.elmundo.es/especiales/2007/11/cultura/premio_cervantes/index.html
 
H?ctor Negro recuerda a los poetas de El Pan Duro. Un libro suyo recuerda al grupo que de 1955 a 1964 reuni? a Gelman, Bignozzi y Ditaranto. 
Jorge Marrone
 
      A 
guante el got?n", se lee en una descascarada pared del barrio Constituci?n. Dos cuadras despu?s, y m?s prolijo, cuelga un cartel que anuncia: Academia Porte?a del Lunfardo. La presentaci?n de un libro siempre es una fiesta, pero m?s en el caso de La verdad sobre el Pan Duro, obra de H?ctor Negro -publicada por el editor Marcelo H?ctor Olivieri- que en sus 260 p?ginas repasa la historia y las circunstancias de un grupo de poetas que hizo ?poca. Un solo nombre bastar?a para confirmarlo: del Pan Duro sali? Juan Gelman, reciente ganador del Premio Cervantes 2007.
En el barrio de Constituci?n, en la calle Estados Unidos, m?s de doscientas personas amantes de la po?tica argentina celebran y soportan el pegajoso atardecer capitalino. Tienen motivos para su estoicismo ambiental: en la vieja casona de la academia lunfarda la gente se api?a para escuchar a H?ctor Negro y a sus vates amigos. Ellos despu?s desgranar?n historias sobre este movimiento po?tico que, lejos de grupos como Florida y Boedo, tuvo sus propias se?ales de identidad.
"Cada integrante, ideol?gicamente, pod?a pensar lo que quisiera. La diversidad de pensamiento y obra no nos produc?a fricciones", definir?a despu?s H?ctor Negro en la presentaci?n de La verdad sobre el Pan Duro. Aunque convengamos que algunas "coincidencias" hab?a. El numen del grupo era el genial Ra?l Gonz?lez Tu??n. Pero otros tallaban fuerte: Gelman (a quien la cofrad?a le edit? Viol?n y otras cuestiones), el mismo Negro, Ditaranto, Hierba, Silvain, Navalesi Mas?, Wainer, Arizpe, Bignozzi, Castelpoggi, D?az, Morgade, Constantini y muchos m?s.
H?ctor Negro hoje? el libro, reci?n llegado de la imprenta, y sonriendo le dijo a Clar?n que "?sta es una reivindicaci?n de Pan Duro que nos deb?amos todos quienes participamos". Y despu?s cont?, fragmentariamente, recuerdos y testimonios. C?lido, hiperquin?tico con sus vitales 73 a?os, el autor del libro reci?n "salido del horno" detall? historias. La arracimada platea escuch? casi con unci?n canciones y poemas de la ?poca.
Negro cont? que "el grupo naci? en 1955 y se autodisolvi? en 1964. Eran ?pocas bravas y la pregunta era: ?c?mo construir el camino de la joven l?rica a la rebeli?n, a la protesta?" En los comienzos El Pan Duro inicia su actividad fijando metas inmediatas que el grupo cumple dentro de sus posibilidades. Al principio, el fin unificador era la edici?n de libros y la consecuente venta de bonos a los amigos y a los amantes de la poes?a para sostener la incipiente estructura grupal. En 1956 la edici?n de Viol?n y otras cuestiones se agota a pesar de la falta de un aparato distribuidor.
Los poetas de El Pan Duro andan y desandan la ciudad, se acercan a sindicatos, bibliotecas populares, comisiones de fomento, conventillos y universidades. Este libro rescata adem?s los v?nculos del grupo con otros que fueron contempor?neos, como La Rosa Blindada y El Barrilete. En la d?cada de los sesenta terminaba la en?sima dictadura, la primavera democr?tica dur? muy poco. El Pan Duro no tuvo m?s remedio; se separ?, se lo trag? la historia negra y soldadesca de nuestro pa?s. La leyenda cuenta que un joven escribi? un graffiti: "la poes?a es un arma cargada de futuro". Se lo llevaron preso. En estos d?as, en cambio, la Argentina renueva y festeja su democracia, en Plaza de Mayo, Constituci?n o La Quiaca.
Casi m?s de veinte fotos de los protagonistas ilustran este libro que cuenta la historia de un pu?ado de hombres y mujeres que apostaron a la l?rica, para que la vida sea m?s vida. Para que contin?e el permanente rescate de la memoria. H?ctor Negro busc? en el arc?n de los recuerdos. Hurg?. Investig?. Cont?. Y tan emotivo es el contenido del libro, que escribi? en prosa y casi le sale poes?a.
Clar?n, Buenos Aires, 17 de diciembre de 2007
 
testimonios 
  
MUNDAR
Buenos Aires, Seix Barral, 2007
 
LA MANZANA
Manzana sola en la fuente,
?qu? hace sin Para?so? Nadie ve
su cicatriz amarga.
?Me pregunta
a d?nde fue el secreto
de irse por tanta puerta
cerrada, alto el crep?sculo
firme, la cara que
sue?a, sue?a, sue?a,
sin importar lo que perdi??
En un rinc?n, el viento
mueve la sombra de las hojas.
 
 
AMISTADES
El poema que estaba en la cabeza
del coraz?n se fue. Esto habla
de la certidumbre de la incertidumbre
que nadie puede medir.
Tu brazo nada
en el temblor del sucedido.
?Qu? caballos
te recaballan la naci?n
de las ausencias que busc?s
en la ausencia de vos? Es la amistad
del todo con la nada, la
del pecho mismo con
su perd?n, sus espejos,
no dormir.
 
ALAS
Ala.
A la herida,
Alar ido
al espanto
que separa a la voz del coraz?n.
El alano que alarga su altivez.
Alondra aqu? metida por
caprichos de la gallina con el gallo.
Alaz?n que el alba ocup?s,
?alargame el amor y su signo
que se alcohola en mis entra?as!
?Ella, con alfabetos no le?dos,
alumbram? lo que resiste al pairo!
En el alf?izar de los hu?rfanos
pregunta qu? pas?
y alza la noche.
 
OC?ANOS
En el oc?ano del vac?o
hay nombres, nombres, nombres.
En el oc?ano de lo perdido,
hay nombres.
?Qui?n responde
a este chorro de alma
que los llama? Un oleaje
de nombres, nombres, nombres.
?Qu? los separa de la grande muerte
en brazos ya de lo que fueron?
 
SONETO
Se?ora furia/ ?por?
?por qu? no la dejaron
solita y sola?/ hay fuego/
fuego de sol/ fuego de ni?os/
 
cortan la calle espesa de
furia/ furias/ el hielo
de su vejez/ roto por la
ca?da de los llantos/ ?oh dulce amor
 
que descansaba en la
suposici?n de rosas de agua!/
no primavera/ no vigila
 
el callej?n de las entra?as/
los tragos de la suerte/
el vuelo alto/
 
LA CAMISA
La luz que toca mi camisa
nada sabe de m?. La recibo,
pero qui?n la merece.
Poner el cielo al fuego es una
condici?n de este tiempo, el almanaque
finge inocencia en su papel.
Los b?rbaros que manejan las penas
de los dem?s, espinan
astros que no vendr?n.
?Qu? esperan los dolidos en su cueva
con una cama donde
espantos, miedos, duermen cada noche?
El no mundo conversa
con ma?anas sin Dios.
 
ENVOLTURAS
Vos, que envolv?s
el tibio aroma y la espiral de la
noche indormida en
las vendas del cobarde y
fing?s que sos sin ser vivido:
?abrite las mil puertas
de tu ciudad cerrada! En el rinc?n
donde el miedo te agach? la cabeza
hay esperas que dicen
abur abur. Te fuiste, no dejaste
que una luz te sacara
de vos a la luz de tu luz.
Caen estrellas y est? triste
Dios, que existe poquito.
 
LA SED
En esos prados donde
dej?se y olvid?se hoy crecen
inviernos y el vac?o. ?l vio
ciervos de aire cruzando
su sed de amor.
Esos flujos de sombra que arden
tan lejos, don San Juan, interrogaban
lo que no es porque no es.
Es la ?nica forma de vivir,
padre dulce, insaciable.
El agua que no has de beber
moja la mano que te escribe.
 
DESCUBRIMIENTOS
Derrota/leo tu libro/
maestra ?ntima/ya libre
de vos/?qu? ?ngel ca?do
hay en tu espalda?/vos/
tan siempre/vi tu cara
un d?a que volabas
de vos a m?/endemientras
el deseo levantaba su furia
en las desgracias del amor.
El cerca lejos de
tu despego sin alma
resplandece en servicios
de tu voz/y la
conciencia de lo amado.
Me recrearas en tu flujo
Donde llor?s m?s que yo.
 

zonas

SAN JUAN DE LA CRUZ, PATRONO DE LOS POETAS
Guillermo Urbizu
 
      H 
oy es San Juan de la Cruz, patrono de los poetas. Parece obligado decir algo. ?Sobre el mismo San Juan? ?Sobre la poes?a? ?Sobre otros poetas? En primer lugar felicidades a todos. Y no s?lo a aquellos que escriben con precisi?n sus versos. Tambi?n quiero hacer extensiva esta felicitaci?n a tantos escritores -y no escritores- con alma de poetas. Es decir, gente que percibe el rumor de la belleza, o gente que aguza los sentidos para trascender la apariencia. Personas que anhelan expresar con palabras o con un abrazo el ser de las cosas. Ese reflejo s?bito en el espejo, el atardecer en el color de una naranja o el ritmo pendular de esas piernas. Personas que ven lo invisible en la zozobra del dolor, o cuando cierran los ojos durante un beso. O mientras cuidan a sus hijos, o hacen la comida, o toman un caf? con los amigos.
Y a prop?sito de San Juan de la Cruz recuerdo ahora un libro y un poema. Un libro excelente de Jos? Jim?nez Lozano: El mudejarillo (Anthropos, 1992), en el que el autor hace su particular recorrido por la vida del poeta y su entorno, en una prosa de tono l?rico que sobrecoge precisamente por su sencillez y su identificaci?n con la humildad y serenidad del santo. Un librito que releo muy a gusto siempre que puedo.
Y el poema que recuerdo pertenece al Libro de la mansedumbre (Tusquets, 1997), de Antonio Colinas. Se titula "Juan de la Cruz sestea en el pinar de Almorox", y tiene la particularidad de que me est? dedicado. Pero eso es lo de menos. Concluye as?: "Para encontrar la senda extraviada / se adentrar?n sus ojos en lo oscuro / como en mara?a de espinos".
Tal vez una buena forma de celebrar este d?a ser?a leer algunos versos del poeta de Fontiveros. Por ejemplo su C?ntico, que principia as?: "?Ad?nde te escondiste, / Amado, y me dejaste con gemido? / Como el ciervo huiste / habi?ndome herido; / sal? tras ti clamando y eras ido". O comprar -y leer- El r?o de sombra. Treinta y cinco a?os de poes?a, 1967-2002, (Visor Libros, 2004), de Antonio Colinas.
De libros m?s recientes quiero volver a sugerir la madurez po?tica de Jos? Carlos Llop en su libro La avenida de la luz (Lumen). Una poes?a donde el paso del tiempo y la muerte tienen su eleg?a, y el amor a los seres queridos su requiebro. Dentro de un culturalismo nada pedante ni fr?o; es m?s, necesario. Fundido a su propia vida. A nuestra vida. Un gran libro de un gran poeta que, adem?s, escribe una prosa digna de menci?n. Pero de una de sus novelas que llevo entre manos ya hablar? aqu? otro d?a.
Un poeta que descubr? gracias a los buenos oficios de Jaime Siles es Yves Bonnefoy (Tours, 1923). Un poeta extremadamente culto (estudi? Matem?ticas y Filosof?a), un poeta en el que la cultura y el rigor del pensamiento son el cauce por el que discurre el caudal inmenso de la existencia humana. Sus versos analizan la metaf?sica de lo visible en un lenguaje que sugiere, en su tonalidad, algunas certidumbres. El poeta traduce la vida, la rumia, la regenera. Para que en esos versos resuene lo absoluto. Y nada mejor para introducirse en la poes?a de Bonnefoy que hacerse con Tarea de esperanza. Antolog?a po?tica (Pre-textos), en la gran traducci?n de Arturo Carrera.
Por ?ltimo quiero hacer menci?n de Pulir huesos. Veintitr?s poetas latinoamericanos (C?culo de Lectores / Galaxia Gutenberg). Una muy sugerente muestra de poetas nacidos entre 1950 y 1965, en edici?n de Eduardo Mil?n, que certifica la gran calidad y pujanza de la poes?a iberoamericana.
El Semanal, www.elsemanaldigital.com/blog.asp?idarticulo=77081
 
DECLARAN DESIERTO EL PREMIO NACIONAL DE POES?A AGUASCALIENTES 2008
 
Del bolet?n del Instituto Nacional de Bellas Artes:
El jurado, integrado este a?o por Jos? Luis Rivas, Jorge Esquinca y Jos? Javier Villarreal, consider? en el acta que entre los 207 originales recibidos ninguno de ellos presentaba la calidad suficiente para hacerse acreedor a este reconocimiento.
El Premio Nacional de Poes?a Aguascalientes, auspiciado por el Gobierno de esa entidad, a trav?s del Instituto de Cultura de Aguascalientes, el Patronato de la Feria de San Marcos y el Instituto Nacional de Bellas Artes, es el reconocimiento m?s importante a nivel nacional en este g?nero literario.
El acta correspondiente al fallo del jurado consta que, "reunidos en la Sala Ladislao Ju?rez Ponce de la Casa de Cultura de la ciudad de Aguascalientes", el 31 de enero de 2008 Jos? Luis Rivas, Jorge Esquinca y Jos? Javier Villarreal consideraron "de manera un?nime, declarar el Premio desierto, debido a que ninguno de los manuscritos cumpli? con el nivel de excelencia indispensable en un concurso con la trayectoria y el prestigio propios del Premio de Poes?a Aguascalientes".
Los integrantes del jurado se?alaron que en apego a la Novena Cl?usula de Convocatoria, la cual refiere que: "El Premio puede ser declarado desierto, en cuyo caso las instituciones convocantes se reservan la decisi?n de emplear el recurso econ?mico correspondiente para apoyar actividades de fomento a la literatura", se decidi? dedicar un homenaje al poeta Gerardo Deniz "en reconocimiento al conjunto de su obra en la que se cumple una de las voces mayores de la poes?a escrita en nuestra lengua."
www.alforjapoesia.com
 
SOBRE EL PREMIO DE POES?A DE AGUASCALIENTES 2008
Eduardo Hurtado
4 de febrero de 2008
 
      C 
omo ya se ha hecho p?blico, el Premio Nacional de Poes?a Aguascalientes 2008 ha sido declarado desierto por los tres miembros del jurado, Jorge Esquinca, Jos? Javier Villarreal y Jos? Luis Rivas. Lo han decidido as? en ejercicio de la facultad que la Convocatoria les otorga y su arbitraje debe asumirse, seg?n se establece en la misma, como inapelable. No obstante, la reflexi?n acerca del significado de este fallo es pertinente y necesaria.
Resulta inquietante, por decir lo menos, que el certamen de poes?a m?s importante de M?xico, al que concurre cada a?o una considerable proporci?n de los muchos autores que entre nosotros se dedican de lleno al g?nero, arroje este resultado desalentador: entre los m?s de 200 originales presentados, ni uno solo alcanz? a colmar las supremas exigencias de los dictaminadores. En esto los par?metros y las subjetividades de los tres coincidieron, a juzgar por el car?cter un?nime de su determinaci?n. Algo debe andar mal, muy mal en Dinamarca, si se piensa que esto sucede en un medio donde un considerable n?mero de poetas vive consagrado al oficio, publica libros, colabora con poemas en revistas y peri?dicos, escribe ensayos y notas, goza de apoyos del Estado, concurre a talleres o los coordina y asiste a todo clase de actividades relacionadas con la poes?a. No s?lo eso: un pa?s que goza de un amplio reconocimiento, sobre todo en el mundo de habla hispana, por la calidad de sus poetas.
Como se sabe, todo premio literario, incluidos los que, como ?ste, gozan de un gran prestigio, tiene altas y bajas; de todos ellos salen libros que acaban por cambiarle el rostro a una literatura, junto a otros de gran calidad pero cuya trascendencia visible resulta m?s o menos restringida. Estos ?ltimos forman parte, hoy lo sabemos mejor que nunca, de ese largo proceso del que sin duda depende el surgimiento de las obras destinadas a permanecer durante mucho tiempo, acaso "para siempre". La literatura, la necesidad de fondo que la anima, se nutre de este intercambio saludable. Entre las obras que una ?poca considera indudables, ?cu?les persistir?n a pesar de los a?os? Aun los cr?ticos mejor dotados suelen equivocarse a la hora de intentar establecerlo.
Lo que los miembros del jurado han hecho al declarar desierto el premio de poes?a de mayor relevancia en nuestro medio, es implicar que una buena porci?n de la poes?a que hoy se hace en M?xico es de baja o mediana calidad. Juicio muy cuestionable, sobre todo si uno est? al tanto de los buenos libros de poemas que cada a?o se editan en el pa?s, o si frecuenta las revistas y suplementos literarios de M?xico y de otros pa?ses donde tambi?n publican poetas mexicanos. Si el jurado se propuso, seg?n se deduce de alguna de sus declaraciones, mostrar que este premio s?lo debe otorgarse a libros "de excelencia" (t?rmino muy recurrente en medios acad?micos, pol?ticos y hasta deportivos, pero de aplicaci?n por lo menos problem?tica en los terrenos de la actividad art?stica), ha dado una muestra de soberbia. Ellos mismos recibieron este premio antes, sus obras desataron pol?micas a la hora en que ganaron, y a?n est? por verse (s?lo el tiempo lo dir?) si sus respectivos libros, esos que merecieron el galard?n, tienen las cualidades necesarias para perdurar.
Por lo pronto, seg?n se desprende de su determinaci?n a la hora de sancionar el concurso, nada de lo que hoy se hace aqu? resulta equiparable con lo que ellos mismos presentaron en su momento. Montados en esa posici?n de superioridad, y al autoerigirse como jueces intransigentes (categor?a que busca ser prestigiosa) , con toda probabilidad descartaron m?s de una propuesta que, desde una mirada experta como la suya pero menos arrogante, hubiera merecido el premio. Un premio que a?o con a?o despierta filias y fobias, como sucede en todas partes; que no s?lo sirve para animar un medio al que le conviene la discusi?n abierta, sino como un referente para observar los distintos rumbos y posibilidades de la poes?a que se escribe en M?xico. Esto incluso cuando lo que se discute es la ausencia de un nombre importante entre los premiados o el triunfo de alg?n t?tulo que, a juicio de algunos o de muchos, resulta cuestionable.
Sin embargo, como se ha dicho, el fallo es inapelable para efectos del dictamen -y est? bien que lo sea. Lo que puede y debe discutirse es la disposici?n, dictada por el jurado el d?a en que emiti? su veredicto y avalada casi de inmediato por las instituciones convocantes (de estas ?ltimas, conviene subrayarlo, no surgi? la iniciativa), de destinar el monto del premio al poeta Gerado Deniz. Se trata de un gesto demag?gico, ungido de una falsa generosidad. Un gesto que equivale a una solemne caravana que el jurado ejecuta con sombrero ajeno. Desde luego, Deniz es un autor de val?a y alcances indiscutibles. Se trata de un poeta mayor de la lengua. Merece premios y reconocimientos de todo g?nero. Pero, por lo mismo, merece tambi?n que ?stos provengan de iniciativas destinadas a ese fin, no que se le otorguen con fondos provenientes de uno de los pocos premios importantes para la poes?a, a ra?z de una decisi?n que sin duda levantar? ?mpula.
Si este poeta due?o de una larga y destacada trayectoria no ha recibido, como tantos otros artistas nuestros, el reconocimiento y el apoyo que merece, es preciso reclamarle a la sociedad y al Estado mexicanos que se repare tan grave omisi?n. Se trata, de hecho, de un asunto de pol?tica cultural que es urgente discutir y solventar. Habr?a incluso que demandar, para ir al fondo del asunto, la ampliaci?n de las plazas em?ritas en el SNCA y/o la creaci?n de fondos especiales destinados a este fin. Me sumo desde ahora, con el mayor entusiasmo, a cualquier iniciativa que busque enmendar el descuido imperdonable cometido en contra de la obra y la figura de Gerardo Deniz. Pero entregarle el dinero de un premio en el que no particip? es injusto para ?l y para el certamen mismo. Adem?s, va contra el esp?ritu y la letra de la Convocatoria, que establece: "El Premio puede ser declarado desierto, en cuyo caso las instituciones convocantes se reservan la decisi?n de emplear el recurso econ?mico correspondiente para apoyar actividades de fomento a la literatura." Destinar el monto del premio a Gerardo Deniz no es, por donde quiera verse, una actividad de fomento a la literatura sino una acci?n insuficiente de apoyo a un escritor que, insisto, merece con creces ser creador em?rito del SNCA y recibir reconocimientos p?blicos organizados ex profeso.
En todo caso, y en atenci?n al prop?sito de la Convocatoria, los 250,000 pesos del certamen declarado desierto deber?an destinarse a incrementar los acervos de poes?a en algunas bibliotecas del interior del pa?s, incluidos los t?tulos indispensables de Gerardo Deniz; de esta forma se dar?a impulso, de la mejor manera imaginable, al conocimiento y la difusi?n de nuestros poetas mejores. O bien podr?an emplearse para llevar talleres de creaci?n a los estados que m?s los necesitan, como Durango, Chiapas, Guerrero y tantos otros, lo cual servir?a para comenzar a recomponer el estado de salud de la poes?a mexicana, que seg?n el diagn?stico del jurado es francamente grave. 
http://loselementosdelreino.blogspot.com/2008/02/eduardo-hurtado-acerca-del-premio-de.html
 
BOCCANERA: LAS PUERTAS ABIERTAS POR CASA
Francisco G. Navarro
 
Cienfuegos, Cuba. Cuando en enero de 1976 recibi? el Premio Casa de las Am?ricas con su poemario Contrase?a, el joven argentino Jorge Boccanera ni siquiera sospech? las puertas que aquel lauro literario le abrir?a en los pr?ximos meses.
As? lo confes? el poeta a Prensa Latina en di?logo que casi pisa las arenas de la bah?a de esta ciudad del centro-sur de la Isla, adonde 32 a?os despu?s regres? como jurado del propio galard?n de las letras latinoamericanas y caribe?as.
El premio le lleg? con dos meses de antelaci?n a la dictadura militar que lo inducir?a a tomar el camino del exilio, en un viaje por tierra hasta M?xico que le tom? medio a?o, recuerda el poeta.
Durante ese peregrinar, adem?s de la hospitalidad de quienes le recib?an, el Premio Casa le vali? como una carta de presentaci?n en escenarios acad?micos y literarios, y aprovech? para denunciar las desapariciones de varios escritores argentinos a manos de los represores.
Boccanera (Bah?a Blanca, 1952) rememora su paso por la Universidad de La Cantuta, lugar a?os m?s tarde de una masacre del gobierno de Fujimori en Per?, y un Congreso Nacional de Escritores en Panam?, al cual no estaba invitado.
Dialogar una hora con un poeta argentino sin mencionar a Juan Gelman y Jorge Luis Borges le restar?a validez a una entrevista. Ambos se cruzaron con la existencia po?tica del autor de Marimba (1996), pero dejando estelas muy diferentes.
Cuando se refiere al primero Boccanera dice sencillamente Juan, como si se tratara del t?o m?s querido o el vecino mejor llevado.
Por un lado est? amistad y por otro el respeto, la admiraci?n y la sorpresa por una obra que no deja de producir, seguir trabajando su poes?a es para mi una aventura muy interesante, comenta sobre la l?rica del Premio Cervantes.
Su poes?a tiene la m?sica de las preguntas, como los dientes de un engranaje que va moliendo las obsesiones del bardo: exilio, p?rdidas, amor y lucha por la dignidad, afirma el autor del ensayo Confiar en el misterio. Viaje por la poes?a de Juan Gelman.
Dentro de la cr?tica, y me incluyo, resulta muy dif?cil trabajar sus ?ltimos libros porque contienen elementos muy novedosos; no alcanza identificar que herramientas emplea Gelman, sino que logra con ellas. Los cr?ticos no estamos preparados para ?l, a?ade.
A Borges lo conoci? un d?a, pero s?lo eso. "Tuvimos una peque?a conversaci?n y no creo que le interesara mucho el di?logo con la gente joven, adem?s no es de los poetas que me conmueven, porque no se abisma en los misterios de la poes?a".
Si bien tiene una labor con el lenguaje que reconozco, me parece un poeta de ideas, trabaja con conceptos, y aunque pueda parecer una blasfemia para sus admiradores a m? no me pasa nada con Borges, sostiene al enjuiciar el legado del autor de El Aleph.
M?s all? de su gran erudici?n escribe sobre una red tejida de mitos, leyendas, personajes hist?ricos, un mundo referencial que le da cierta seguridad, sostiene.
Por eso a Borges no le gustaban poetas que a m? me gustan mucho, como Federico Garc?a Lorca y Oliverio Girondo (Buenos Aires 1891-1967), dos que se abisman y entran en territorio desconocido, acota.
Puesto a autodefinirse, Jorge Boccanera acepta ser un escritor que asume varias manifestaciones, pero poeta es lo que mejor le va. El eje de todo lo que hago es la libertad concedida por la poes?a para prolongar la escritura hacia otros ?mbitos de la creaci?n; resulta como un n?cleo, una oxina importante que me ha dado plasticidad en el lenguaje, apunta al definir su quehacer literario.
Autor de al menos una decena de poemarios, dos piezas teatrales y par de ensayos, Boccanera se mueve con igual soltura en una parcela literaria con rasgos ecl?cticos como son las historias de vida.
Confiesa su gusto por el g?nero y piensa que se debe a las historietas de Germ?n Ohesterheld -el m?s grande autor argentino de c?mics desaparecido por la dictadura junto a sus cuatro hijas en 1977-, sus primeras lecturas en la casa su abuelo peluquero.
Ohesterheld condensaba cada historia en 10-12 p?ginas de una sola edici?n, no pon?a el cl?sico continuar?, y eso es lo que hago con las historias de vida, se?ala. En la manera de contarlas interviene mucho el relato, el reportaje, la poes?a en la manera de metaforizar, el teatro en las situaciones de los personajes, la narrativa, la informaci?n period?stica. Es un cruce, asegura al enumerar los ingredientes del coctel.
Jorge Boccanera escribe una novela y espera que este a?o vea la luz su pr?ximo poemario, el cual presiente raro para los poetas argentinos, de tan urbanos que son. A los cubanos les va a gustar por su t?tulo Palma real, llevo 10 a?os trabaj?ndolo y lo conceb? en medio de un follaje exuberante en Costa Rica, un escenario donde la selva en vez de crecer imagina, algo que nosotros desconocemos, adelanta el autor.
Boccanera asume una sola religi?n: las palmeras. "Veo una y me dan ganas de arrodillarme, esa manera como de mover el cabello, de salir a recibir el visitante, ese donaire de reina que tiene".
Prensa Latina, www.prensa-latina.cu/print.asp?ID=%7BDC6EA451-7D2A-4876-B415-EA8BB138D448%7D&language=ES&user=guest
 
Pr?ximos n?meros:
?   ?ngel Gonz?lez (1925-2008)
?   90 a?os de Gonzalo Rojas

***

EL CONSEJO NACIONAL PARA LA CULTURA
Y LAS ARTES

a trav?s de la Coordinaci?n Nacional de Literatura 

del Instituto Nacional de Bellas Artes

y la Editorial Praxis

invitan a la presentaci?n del libro

Jaime Sabines. Entre lo tierno y lo tr?gico

del poeta y ensayista sinomexicano

?scar Wong

el mi?rcoles 20 de febrero, a las19 horas, 

en la sala Adamo Boari del Palacio de Bellas Artes

(Eje Central y Av. Hidalgo, Centro Hist?rico de la Ciudad de M?xico)

Participan:

Alicia Qui?ones, Dulce Chiang, Sabina Sarmiento
y el autor

Modera: Carlos L?pez

La entrada es libre

____________________________________________
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, elpoemaseminal2008 at yahoo.com.mx
correodepoesia at yahoo.com.mx


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

?Capacidad ilimitada de almacenamiento en tu correo!
No te preocupes m?s por el espacio de tu cuenta con Correo Yahoo!:
http://correo.yahoo.com.mx/
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From anny.ballardini at tin.it  Tue Feb 19 05:54:19 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Tue, 19 Feb 2008 11:54:19 +0100
Subject: [New-Poetry] from today's Writer's Almanac
Message-ID: <E5608FEBE7CC48DABAD01EAF96E412BA@AnnyPC>

Poem: "Where Else Can You Go" by Jim Daniels from Blessing the House. ? University of Pittsburgh Press, 1997. Reprinted with permission. (buy now)

Where Else Can You Go 

to get those wonderful T-shirts
with the pocket for your smokes
the pocket for your smokes?

In all colors all sizes
blue and dark blue and light blue
and black   and brown   green and red
light brown   dark red    all colors.

Where else can you go
for the blue light   the blue light
     the blue light specials?

You know what I'm talking about
that place    that savings place
you've been there
wandering the aisles dazed.
You have to be I the right mood
to go in. you have to be slow
and happy   and sad.

I am buying T-shirts and basketball shoes
I am buying a Hula Hoop and a can of oil
I am buying a travel alarm and an eraser
in the shape of Mr. T's head-
oh, Mr. T where are you now?

Good cheap stuff, don't you love it
cheeseballs and vitamins
a bag of cement   a light-up fish

a lightbulb with three speeds
a lightbulb that lasts forever.
It's cotton candy on my tongue-
it disappears   yet is so sweet
yet is so sickening.

Why did I come here, what did I really need?
I am lonely and it is raining. 
I am tired of flossing.
I want to wander these cluttered aisles
till what brought me here
slides off into shoe boxes and dish drainers
into stale bags of caramel corn

and circus peanuts, into disposable lighters
and sugar-free gum. I want to be emptied
emptied of it all, I want to pass through 
the checkout counter past the security guard
having mumbled all my sins to the plastic dolls.
I want to be purified by the smells of ammonia
and Colorforms, the taste of junk America
the sweet sweet blues-I hope I can afford it. 






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

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! 
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From halvard at earthlink.net  Tue Feb 19 12:20:50 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Tue, 19 Feb 2008 11:20:50 -0600
Subject: [New-Poetry] Dialogue Sonnet
Message-ID: <7754AFCC-4660-406D-B33C-4B83ECCDE041@earthlink.net>

Dialogue Sonnet

First, do you mind if I record this as we speak? No,
of course not. Okay then, let?s salivate together.
Reaganite goo has spread itself all over this primary
season, don?t you agree? Well, one might say so,

but it?s early in the century, and the campaign will drag
on for months and months if not years and years. We
will all come to regret our first thoughts, our early
prognostications. Progressive enervation, eh?

Yep, right here in Enervation Nation. Don?t you find
all of this . . . well, shall we say a little Mozartean?
To be sure. But left hands barely hear what the right
hands are doing. Robbing St. Peter to pay St. Paul, eh?

Just so. Thanks for coming in today. One last thought
for our listeners? Just one: Beware the blowflies of fame.





Hal

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


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From anny.ballardini at tin.it  Tue Feb 19 12:58:28 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Tue, 19 Feb 2008 18:58:28 +0100
Subject: [New-Poetry] Poem to God
Message-ID: <57D719C0B6274638936811A71AD91672@AnnyPC>

thundering the God from his all-seeing throne

finely embroidered brocade appeasing date-palm eon

his globe vulture-eyed studded regal scepter glooming against earth

 

all the way down to the horizon did His freezing lightening 

screech quartering political pulp & artificial screens

scattering millions of ants out of their 

methodical metaphysical scenes

 

'Sir' said the maiden without expecting any return

'I'm not worth your Mighty concern'

 



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! 
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From JforJames at aol.com  Tue Feb 19 19:19:59 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Tue, 19 Feb 2008 19:19:59 EST
Subject: [New-Poetry] Literacy News of the Weird
Message-ID: <cd2.29a7a8e5.34eccc2f@aol.com>

_http://www.freep.com/apps/pbcs.dll/article?AID=/20080217/NEWS04/802170602&imw
=Y_ 
(http://www.freep.com/apps/pbcs.dll/article?AID=/20080217/NEWS04/802170602&imw=Y) 
 
Saying they're going to the library may no longer be the standby excuse  
teens offer their parents for secretly heading out to a party or to hang out  with 
friends.

These days, more and more young people are flocking to metro  Detroit 
libraries: not necessarily for homework, but to participate in one of  their favorite 
pastimes -- video games.
 
"Getting teens to come to the library is right up there with getting them  to 
go to church: It's not exactly the first place they want to go," said  
Christine Lind Hage, director of the Rochester Hills Public  Library




**************Ideas to please picky eaters. Watch video on AOL Living.      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)
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From Sigauke at crc.losrios.edu  Tue Feb 19 19:23:46 2008
From: Sigauke at crc.losrios.edu (Sigauke, Emmanuel )
Date: Tue, 19 Feb 2008 16:23:46 -0800
Subject: [New-Poetry] Sacramento Poetry Center
In-Reply-To: <cd2.29a7a8e5.34eccc2f@aol.com>
References: <cd2.29a7a8e5.34eccc2f@aol.com>
Message-ID: <31F3BD8702DDAD4DAFEAB5245EAAED661514E1@CRC-EXCH01.crc.ad.losrios.edu>

 
http://sacramentopoetrycenter.blogspot.com/2008/02/african-american-expe
rience-at-spc.html

________________________________

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: Tuesday, February 19, 2008 4:20 PM
To: new-poetry at wiz.cath.vt.edu
Subject: [New-Poetry] Literacy News of the Weird


http://www.freep.com/apps/pbcs.dll/article?AID=/20080217/NEWS04/80217060
2&imw=Y
 
Saying they're going to the library may no longer be the standby excuse
teens offer their parents for secretly heading out to a party or to hang
out with friends.

 These days, more and more young people are flocking to metro Detroit
libraries: not necessarily for homework, but to participate in one of
their favorite pastimes -- video games.
 
"Getting teens to come to the library is right up there with getting
them to go to church: It's not exactly the first place they want to go,"
said Christine Lind Hage, director of the Rochester Hills Public Library




________________________________

Delicious ideas to please the pickiest eaters. Watch the video on AOL
Living.
<http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campo
s-duffy/2050827?NCID=aolcmp00300000002598> 
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From jforjames at aol.com  Tue Feb 19 21:54:15 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 19 Feb 2008 21:54:15 -0500
Subject: [New-Poetry] Sacramento Poetry Center
In-Reply-To: <31F3BD8702DDAD4DAFEAB5245EAAED661514E1@CRC-EXCH01.crc.ad.losrios.edu>
References: <cd2.29a7a8e5.34eccc2f@aol.com>
	<31F3BD8702DDAD4DAFEAB5245EAAED661514E1@CRC-EXCH01.crc.ad.losrios.edu>
Message-ID: <8CA4183039413E3-12F4-1B31@MBLK-M39.sysops.aol.com>




?

http://sacramentopoetrycenter.blogspot.com/2008/02/african-american-experience-at-spc.html

Looks like a great reading. We need a podcast to hear you, Emmanuel.
Finnegan

-----Original Message-----
From: Sigauke, Emmanuel <Sigauke at crc.losrios.edu>
Bcc: jforjames at aol.com
Sent: Tue, 19 Feb 2008 7:23 pm
Subject: [New-Poetry] Sacramento Poetry Center



?

http://sacramentopoetrycenter.blogspot.com/2008/02/african-american-experience-at-spc.html





________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From elemenope_productions at hotmail.com  Tue Feb 19 22:39:38 2008
From: elemenope_productions at hotmail.com (R Dillon)
Date: Wed, 20 Feb 2008 03:39:38 +0000
Subject: [New-Poetry] Jim Daniels
In-Reply-To: <200802191700.m1JH048Z002361@wiz.cath.vt.edu>
References: <200802191700.m1JH048Z002361@wiz.cath.vt.edu>
Message-ID: <BLU103-W220C74645ECE9DBE3AD9F690230@phx.gbl>


MISTOOK FAME
 
Every so often I run into Jim Daniels.
He waves softly and acknowledges silently
the irony that out West in another city
an entirely different scene of poets
 
who used to see me on a moped
darting through evening neighborhoods alone
believe when one of his poems appears
that I, the one on the moped they saw,
 
wrote it due to the fact that I moved
to the city where some have claimed
that Jim Daniels is the King of Poetry
and since back there I acted as I were such a king
 
they have gone on to assume I am him.
He told another poet, an expert gossip,
this story, and it was told to me,
I sensed, with a hint of envy.
 
R.E. Dillon
_________________________________________________________________
Climb to the top of the charts!?Play the word scramble challenge with star power.
http://club.live.com/star_shuffle.aspx?icid=starshuffle_wlmailtextlink_jan
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From anny.ballardini at tin.it  Wed Feb 20 04:18:53 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 20 Feb 2008 10:18:53 +0100
Subject: [New-Poetry] Sacramento Poetry Center
In-Reply-To: <8CA4183039413E3-12F4-1B31@MBLK-M39.sysops.aol.com>
References: <cd2.29a7a8e5.34eccc2f@aol.com><31F3BD8702DDAD4DAFEAB5245EAAED661514E1@CRC-EXCH01.crc.ad.losrios.edu>
	<8CA4183039413E3-12F4-1B31@MBLK-M39.sysops.aol.com>
Message-ID: <E368D6FF5239466AB9EE99E107A52D90@AnnyPC>

Your Sadza is very similar to the local polenta. Only difference is that, as my father says, you have to stir for one hour, but the process is the same, ready when the mixture starts pulling away from the sides of the pan. You overturn the pan and let the round (the pan must be round and deep) polenta fall onto a round wooden chopping board, it sort of looks like a yellow cake. Served with whatever you wish, be it meat or vegetables or cheese, melted cheese on top makes it delicious, or melted butter flavored by sage. You slice it with a thin string, if you use a knife chunks of polenta will stick to it and you will never be able to serve a perfectly cut slice.
Cheers!
  ----- Original Message ----- 
  From: jforjames at aol.com 
  To: new-poetry at wiz.cath.vt.edu 
  Sent: Wednesday, February 20, 2008 3:54 AM
  Subject: Re: [New-Poetry] Sacramento Poetry Center





    http://sacramentopoetrycenter.blogspot.com/2008/02/african-american-experience-at-spc.html
  Looks like a great reading. We need a podcast to hear you, Emmanuel.
  Finnegan

  -----Original Message-----
  From: Sigauke, Emmanuel <Sigauke at crc.losrios.edu>
  Bcc: jforjames at aol.com
  Sent: Tue, 19 Feb 2008 7:23 pm
  Subject: [New-Poetry] Sacramento Poetry Center



  http://sacramentopoetrycenter.blogspot.com/2008/02/african-american-experience-at-spc.html



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From anny.ballardini at tin.it  Wed Feb 20 04:27:07 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 20 Feb 2008 10:27:07 +0100
Subject: [New-Poetry] Sacramento Poetry Center
In-Reply-To: <E368D6FF5239466AB9EE99E107A52D90@AnnyPC>
References: <cd2.29a7a8e5.34eccc2f@aol.com><31F3BD8702DDAD4DAFEAB5245EAAED661514E1@CRC-EXCH01.crc.ad.losrios.edu><8CA4183039413E3-12F4-1B31@MBLK-M39.sysops.aol.com>
	<E368D6FF5239466AB9EE99E107A52D90@AnnyPC>
Message-ID: <40E5D10230C343668352D57E605AD9F1@AnnyPC>

Let me add that we use the yellow cornmeal and the name of the pan is il paiolo, since it is round it is hooked to a chain above the fire, or in kitchens with a wood stove you can take away the needed rings from the cooking surface in order to let part of bottom be in direct contact with the fire.
  ----- Original Message ----- 
  From: Anny Ballardini 
  To: NewPoetry: Contemporary Poetry News &amp;Views 
  Sent: Wednesday, February 20, 2008 10:18 AM
  Subject: Re: [New-Poetry] Sacramento Poetry Center


  Your Sadza is very similar to the local polenta. Only difference is that, as my father says, you have to stir for one hour, but the process is the same, ready when the mixture starts pulling away from the sides of the pan. You overturn the pan and let the round (the pan must be round and deep) polenta fall onto a round wooden chopping board, it sort of looks like a yellow cake. Served with whatever you wish, be it meat or vegetables or cheese, melted cheese on top makes it delicious, or melted butter flavored by sage. You slice it with a thin string, if you use a knife chunks of polenta will stick to it and you will never be able to serve a perfectly cut slice.
  Cheers!
    ----- Original Message ----- 
    From: jforjames at aol.com 
    To: new-poetry at wiz.cath.vt.edu 
    Sent: Wednesday, February 20, 2008 3:54 AM
    Subject: Re: [New-Poetry] Sacramento Poetry Center





      http://sacramentopoetrycenter.blogspot.com/2008/02/african-american-experience-at-spc.html
    Looks like a great reading. We need a podcast to hear you, Emmanuel.
    Finnegan

    -----Original Message-----
    From: Sigauke, Emmanuel <Sigauke at crc.losrios.edu>
    Bcc: jforjames at aol.com
    Sent: Tue, 19 Feb 2008 7:23 pm
    Subject: [New-Poetry] Sacramento Poetry Center



    http://sacramentopoetrycenter.blogspot.com/2008/02/african-american-experience-at-spc.html



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


----------------------------------------------------------------------------
    More new features than ever. Check out the new AOL Mail!



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



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From Opus40-01 at opus40.org  Wed Feb 20 10:32:37 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Wed, 20 Feb 2008 10:32:37 -0500
Subject: [New-Poetry] Sacramento Poetry Center
In-Reply-To: <31F3BD8702DDAD4DAFEAB5245EAAED661514E1@CRC-EXCH01.crc.ad.losrios.edu>
References: <cd2.29a7a8e5.34eccc2f@aol.com>
	<31F3BD8702DDAD4DAFEAB5245EAAED661514E1@CRC-EXCH01.crc.ad.losrios.edu>
Message-ID: <47BC4815.8090608@opus40.org>

This looks to have been a great event. Emmanuel's online magazine, 
Munyori Poetry Journal -- http://www.munyori.com/ -- is as good a place 
as I know to keep up on contemporary African and African-diaspora poetry 
(he's also been gracious enough to publish me a couple of times, 
including the current issue).

Sigauke, Emmanuel wrote:
>  
> http://sacramentopoetrycenter.blogspot.com/2008/02/african-american-experience-at-spc.html
>
> ------------------------------------------------------------------------
> *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:* Tuesday, February 19, 2008 4:20 PM
> *To:* new-poetry at wiz.cath.vt.edu
> *Subject:* [New-Poetry] Literacy News of the Weird
>
> http://www.freep.com/apps/pbcs.dll/article?AID=/20080217/NEWS04/802170602&imw=Y 
> <http://www.freep.com/apps/pbcs.dll/article?AID=/20080217/NEWS04/802170602&imw=Y>
>  
> Saying they're going to the library may no longer be the standby 
> excuse teens offer their parents for secretly heading out to a party 
> or to hang out with friends.
>
>  These days, more and more young people are flocking to metro Detroit 
> libraries: not necessarily for homework, but to participate in one of 
> their favorite pastimes -- video games.
>  
> "Getting teens to come to the library is right up there with getting 
> them to go to church: It's not exactly the first place they want to 
> go," said Christine Lind Hage, director of the Rochester Hills Public 
> Library
>
>
>
> ------------------------------------------------------------------------
> Delicious ideas to please the pickiest eaters. Watch the video on AOL 
> Living. 
> <http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/2050827?NCID=aolcmp00300000002598>
>
> ------------------------------------------------------------------------
>
> _______________________________________________
> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From Opus40-01 at opus40.org  Wed Feb 20 14:26:13 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Wed, 20 Feb 2008 14:26:13 -0500
Subject: [New-Poetry] Anyone have...
Message-ID: <47BC7ED5.8090204@opus40.org>

...a mailing address for Donald Hall?

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

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From millb at aol.com  Wed Feb 20 15:05:28 2008
From: millb at aol.com (millb at aol.com)
Date: Wed, 20 Feb 2008 15:05:28 -0500
Subject: [New-Poetry] Anyone have...
In-Reply-To: <47BC7ED5.8090204@opus40.org>
References: <47BC7ED5.8090204@opus40.org>
Message-ID: <8CA421312A07010-14D4-1E83@WEBMAIL-NB01.sysops.aol.com>


Hi Tad!



Here it is. . .



Donald Hall

????????????????????????????????? 24 US Route 4
Eagle Pond Farm
Wilmot, NH 03287 

????????????????????????????????? Phone: (603) 735-5702 (fax) 




Cheers,

Mill


-----Original Message-----
From: TheOldMole <Opus40-01 at opus40.org>
Bcc: millb at aol.com
Sent: Wed, 20 Feb 2008 11:26 am
Subject: [New-Poetry] Anyone have...



...a mailing address for Donald Hall??
?
-- Tad Richards?
http://www.opus40.org/tadrichards/?
http://opusforty.blogspot.com/?
?
The moral is this: in American verse,?
The better you are, the pay is worse.?
?--Corey Ford?
?
_______________________________________________?
New-Poetry mailing list?
New-Poetry at wiz.cath.vt.edu?
http://wiz.cath.vt.edu/mailman/listinfo/new-poetry?


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From anny.ballardini at tin.it  Wed Feb 20 17:38:52 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 20 Feb 2008 23:38:52 +0100
Subject: [New-Poetry] Fw: screenings of two movies
Message-ID: <4602F6DBF4904BBAB27490423D1B01D3@AnnyPC>



> Screening of two movies by Charles Martin
>
> HATS BY BUNN
>
> &
>
> ED CLARK: A BRUSH WITH SUCCESS
>
> 6-8 PM, Friday, March14, 2008
>
> auditorium
> King Juan Carlos I of Spain Center
> with a small reception to follow in the atrium
>
> New York University
> 53 Washington Square South (Suite 201)
> New York, NY 10012 / USA
> (212) 998-3650 /
> Email: kjc.info at nyu.edu
>
> http://www.nyu.edu/kjc/
>
> ==
>
>
> Hats. By Bunn.
> 30-minute documentary film, (c) 2007, produced by Charles Martin and
> Marcelino Thompson
> Directed by Charles Martin
>
> Synopsis
>
> Stunning hats for women and men, crafted by master hat maker, Bunn,
> are stuffed not with rabbits, but with another magic?pleasure and
> pizzazz. Hats. By Bunn.? is a documentary that observes a fascinating
> character, his rare milliner's art and, most importantly, the aura of
> his hats?every one custom made. The documentary takes its name from
> the business that Bunn operates solo in his shop, in New York, on
> Seventh Avenue between 135 and 134 Streets, Harlem, where he makes
> every single hat and retails them. The film shows Bunn, his shop, and
> the enjoyment of his hats. In the Akira Kurosawa film, High and Low, a
> character played by Toshiro Mifune deems hats as only decoration. If
> he had been familiar with Bunn's art, he might have thought of
> decoration as a mark of honor, achievement and distinction: a spark of
> spirit!
>
> Hats. By Bunn.?is a New York story of dedicated work, great
> achievement, and lots of personality. With music by Pheeroan akLaff
> and by Marcelino Thompson, the film is almost a carnival parade of
> hats and high spirits.
> ==
>
> Looking for a hat, the film's director, Charles Martin, was given
> Bunn's name and location. On the phone, just in the course of
> discussing store hours, Bunn already emerged as an interesting
> personality, and the next day, at the sight of the amazing hats and
> the store, a story was clear to Martin.  He asked if Bunn would agree
> to be filmed, Bunn did, and this is the film, whose location shots
> were done by Thompson and Martin amid the shop's workflow.  Only after
> the fact, Thompson and Martin discovered that Bunn is widely
> renowned?though it is the skill and dedication that drives him.
>
> The film's point of view conveys respect for pleasure, hard work,
> dedication, accomplishment, art and articulate points of view.  Aside
> from Bunn, speakers include Quincy Troupe,
> poet/professor/editor/autobiographer of Miles Davis; Margaret Porter
> Troupe, former gallery director and producer of Harlem Arts Salon;
> Pheeroan akLaff, teacher, musician, composer and band leader; and
> store customers, some walking in from the neighborhood, and others
> making it a point to get there, annually, from great distances, such
> as Mississippi.
>
> Hats. By Bunn.?the documentary?is innovative in its simplicity and
> side-stepping of  dominating media polemic.  We are stunned at the
> creativity of the hats, but not that they are made in Harlem. We
> listen to Bunn because he is interesting, not because he is from
> Trinidad and Tobago.  We are fond of this success because success is
> hard to come by, plain and simple.  This story emerges from a context
> of understanding that when talent emerges it is always exceptional.
>
> The filming of the documentary was professional but light hearted,
> especially at the level of conversation and interviews, which were
> kept focused, but freewheeling. The camera work and editing were done
> to allow the easy emergence of the personalities. While at work,
> everyone is also at play, at least at the level of conversation.
> Participants spoke comfortably and freely, and they talked of
> something they respected and revered?their hats by Bunn. They are
> experts in life and are all wearers of and fans of hats. But the
> story, of course, is not all words and talk.  Hats, on the head or
> off, are to be seen. The film shows people looking at hats, looking at
> themselves, and Bunn doing the same. Bunn is shown at work?making
> hats, working with his customers, and also talking about his work and
> society. And of course, the filming, prominent use of still
> photography, and editing, emphasize and play with the hats and their
> buoyant personality effect.
>
> The music for the film is also key.  Much of it is various solo and
> ensemble work of Pheeroan akLaff, known for his work with most of the
> important musicians of the last 25 years including, to name only a
> very few, Carlos Alomar, Oliver Lake, Rashied Ali, Henry Threadgill
> and Dewey Redman.  Along with this music is the work of Marcelino
> Thompson, band leader, composer, arranger, producer and bassist (aside
> from being a producer and shooter of this film).
>
> This film is directed to anyone who has a head for wearing a hat, or
> eyes to look at ones that are pieces of art.  The film should appeal,
> as well, to anyone interested in a story of hard work in New York.
>
> Charles Martin directs this film immediately following his project, A
> Brush With Success, a half-hour documentary on Abstract Expressionist
> painter Ed Clark, co-produced with Mark Hammond, whose many directing
> and producing credits include Johnny Was, a feature film whose stars
> include Vinnie Jones, Eriq LaSalle, Samantha Mumba, Patrick Bergin,
> Lennox Lewis and Roger Daltry.
>
> Along with being Associate Professor and Chair of Comparative
> Literature at Queens College-City University of New York, Martin is
> also a photographer whose work, recently exhibited at June Kelly
> Gallery, NYC,  is part of museum, public and corporate collections
> including the Museum of Modern Art (New York), the Museum of the City
> of New York, the Center for Photography at Woodstock and the Walter
> Heun Collection (administered by Leica Camera, Inc.). Publications
> include the New York Times and Black Renaissance.
>
> Marcelino Thompson, co-producer of this film, was schooled at City
> College-City University of New York and has worked briefly in
> advertising/commercials. His concentration, however, has been
> music?writing, producing and arranging sessions for singers and
> instrumentalists, and for his own Caribbean flavor band, Verdict.
>
>
> ==
>
> A Brush with Success
> 30-minute documentary film, about artist Ed Clark, an African
> American, second-generation Abstract Expressionist, (c) 2007, produced
> by Mark Hammond and Charles Martin
> directed by Charles Martin
>
> Synopsis
>
> A Brush with Success is a thirty-minute documentary film about African
> American artist Ed Clark by Charles Martin.  The film brings together
> Clark at work, and interviews of him and of other artists, critics and
> commentators?Jay Milder, Jack Whitten, Judith Wilson, April Kingsley,
> Valerie Mercer, Loida Lewis and Bob Blackburn.  Conversations cover
> abstract expressionist painting?of which Clark is a major
> exponent?friends, early days in Paris and New York, childhood and
> family in Louisiana and Chicago, and training and influences.
>
> The film has been enabled by the contributions of many, in particular
> Mark Hammond, Ken van Sickle, Carlos Flores, photographers Adger W.
> Cowans and Fernando Natalici, musician Pheeroan akLaff, and the Hybrid
> Media Project?City University of New York. Charles Martin is Associate
> Professor and Chair of the Department of Comparative Literature,
> Queens College-City University of New York, as well as a photographer
> with work in the Museum of Modern Art and other collections.
>
> Ed Clark, who recently had his eighty-first birthday, has spent most
> of his life painting around the world, but mostly between Paris and
> New York.  He is an extremely important Abstract Expressionist
> painter, though not as famous as might be.  Charles Martin and he met
> in Paris in 2003, while Martin was exhibiting photography there, and
> the two became good friends.  Clark later agreed to be the subject of
> this documentary.  People familiar with his importance?artists,
> critics and collectors?quickly agreed to take part.
>
> The film presents Clark talking of art, his painting, jazz music, and
> his life from New Orleans to Chicago to Paris to New York and around
> the world.  Through additional interviews, others in and familiar with
> the world of painting add to the story, attesting to Ed's influence,
> his impact, and his importance.  They tell stories both professional
> and personal.  Speakers include Jack Whitten, Bob Blackburn (a
> MacArthur prize winner), and Jay Milder?artists and contemporaries;
> April Kingsley, Judith Wilson and Valerie Mercer?critics and curators;
> and Loida Lewis, a collector.
>
> The film shows Ed painting, as well as discussing art.  The interviews
> are shot so that the speakers tell their stories and offer their
> points of view in a smooth flow without the intrusion of a questioner
> or narrator.  The camera work is direct and expertly done by Mark
> Hammond (co-producer) and Ken van Sickle (who has worked on an academy
> award winning documentary).  The film includes, too, stills (by van
> Sickle) from the Paris and 10th Street/New York gallery heydays.
>
> The film is a portrait of an artist who has worked long and steady,
> gained recognition, and continues on.  It should interest fans of art,
> those interested in intersections of jazz and art, and the point of
> view of an African American articulating some of his views on art.
>
> Charles Martin directed and co-produced A Brush With Success.
>
> Producer Mark Hammond has many directing and producing credits
> including Johnny Was, a feature film whose stars include Vinnie Jones,
> Eriq LaSalle, Samantha Mumba, Patrick Bergin, Lennox Lewis and Roger
> Daltry.
> 




From halvard at earthlink.net  Thu Feb 21 00:50:56 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Wed, 20 Feb 2008 23:50:56 -0600
Subject: [New-Poetry] Rabbit in Moon Eclipsed: San Miguel de Allende, Gto.,
	Mexico 2.20.08
Message-ID: <441AF762-7C82-4288-B6E5-1E09607B8035@earthlink.net>

http://imageswithoutwords.blogspot.com/

"Anything is art if an artist says it is."
		    --Marcel Duchamp

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


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From jforjames at aol.com  Thu Feb 21 09:26:38 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 21 Feb 2008 09:26:38 -0500
Subject: [New-Poetry] Brodsky set to music
Message-ID: <8CA42ACE772D505-1340-69@FWM-D45.sysops.aol.com>


http://www.nytimes.com/2008/02/14/arts/music/14krem.html?_r=1&ref=music&oref=slogin

Music Review
Poetry and Song to Plumb the Russian Soul?s Depths 
?
By VIVIEN SCHWEITZER
Published: February 14, 2008
The day the persecuted Russian poet Joseph Brodsky went into exile, a recording of Mozart?s Divertimento in D (K. 136) was on his record player, according to the program book for the concert by the Chamber Orchestra Kremlin at Weill Recital Hall on Tuesday evening. 

Skip to next paragraph 
?
Julien Jourdes for The New York Times

The soprano Julia Kogan singing with the Chamber Orchestra Kremlin on Tuesday. 
The orchestra?s bristling performance of the work (written when Mozart was a teenager) certainly had a frisson of danger about it, with the Presto played so fast, it evoked someone fleeing. Misha Rachlevsky, the ensemble?s music director (who founded it in 1991), elicited warm, full-blooded and virtuosic playing with colorfully shaped, gleaming phrases.


?There ...? (2006), a bilingual song cycle by Eskender Bekmambetov based on Brodsky?s Russian poems and Brodsky?s own English translations, received its American premiere here


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From Opus40-01 at opus40.org  Thu Feb 21 09:56:31 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Thu, 21 Feb 2008 09:56:31 -0500
Subject: [New-Poetry] Jeff Newberry sighting
Message-ID: <47BD911F.5040705@opus40.org>

In the current issue of Cortland Review, a very tasty poem. 
Congratulations, Jeff!

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

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From jeff.newberry at gmail.com  Thu Feb 21 12:07:49 2008
From: jeff.newberry at gmail.com (Jeff Newberry)
Date: Thu, 21 Feb 2008 12:07:49 -0500
Subject: [New-Poetry] Jeff Newberry sighting
In-Reply-To: <47BD911F.5040705@opus40.org>
References: <47BD911F.5040705@opus40.org>
Message-ID: <731bb17a0802210907h4cca8c87nd32615d4147fae3c@mail.gmail.com>

Thanks, Mole.

I appreciate your noticing.

Best,
Jeff

On Thu, Feb 21, 2008 at 9:56 AM, TheOldMole <Opus40-01 at opus40.org> wrote:

> In the current issue of Cortland Review, a very tasty poem.
> Congratulations, Jeff!
>
> --
> Tad Richards
> http://www.opus40.org/tadrichards/
> http://opusforty.blogspot.com/
>
> The moral is this: in American verse,
> The better you are, the pay is worse.
>  --Corey Ford
>
> _______________________________________________
> 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 jforjames at aol.com  Thu Feb 21 12:54:27 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 21 Feb 2008 12:54:27 -0500
Subject: [New-Poetry] Numbers Troubles and Our Bodies, Our Poems
Message-ID: <8CA42C9EFDF4C47-A68-BCD@Webmail-mg05.sim.aol.com>

See article here...

http://humanities.uchicago.edu/orgs/review/CR_532_Spahr_Young.pdf

from recent Chicago Review...
http://humanities.uchicago.edu/orgs/review/
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From jforjames at aol.com  Thu Feb 21 14:29:24 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 21 Feb 2008 14:29:24 -0500
Subject: [New-Poetry] new Arkansas prize
Message-ID: <8CA42D733398BCB-A68-11AE@Webmail-mg05.sim.aol.com>


http://dailyheadlines.uark.edu/12357.htm
FOR RELEASE: Thursday, February 21, 2008 
University of Arkansas Press's New Poetry Prize and Two New Collections 


FAYETTEVILLE, Ark. - The University of Arkansas Press has established a new poetry prize to honor the Press's co-founder and first director, Miller Williams. The Miller Williams Poetry Prize is a $5,000 prize to be awarded to the best poetry manuscript submitted to the Press in September and October of 2008, for publication in 2010. In addition to publishing the finalist, three semi-finalists will also be published in 2010. All books will be published in the Press's long-time Poetry Series, edited by Enid Shomer. Four new books of poetry have been published every year as part of this series.


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From chris.kelly at nyu.edu  Thu Feb 21 14:32:02 2008
From: chris.kelly at nyu.edu (Christopher Kelly)
Date: Thu, 21 Feb 2008 14:32:02 -0500
Subject: [New-Poetry] Jeff Newberry sighting
In-Reply-To: <731bb17a0802210907h4cca8c87nd32615d4147fae3c@mail.gmail.com>
References: <47BD911F.5040705@opus40.org>
	<731bb17a0802210907h4cca8c87nd32615d4147fae3c@mail.gmail.com>
Message-ID: <d587dfbb2e9fc.47bd8b62@mail.nyu.edu>


Lovely work, Jeff. 

Well done!


----- Original Message -----
From: Jeff Newberry <jeff.newberry at gmail.com>
Date: Thursday, February 21, 2008 12:10 pm
Subject: Re: [New-Poetry] Jeff Newberry sighting
To: "NewPoetry: Contemporary Poetry News &amp,	Views" <new-poetry at wiz.cath.vt.edu>


> Thanks, Mole.
> 
> I appreciate your noticing.
> 
> Best,
> Jeff
> 
> On Thu, Feb 21, 2008 at 9:56 AM, TheOldMole <Opus40-01 at opus40.org> wrote:
> 
> > In the current issue of Cortland Review, a very tasty poem.
> > Congratulations, Jeff!
> >
> > --
> > Tad Richards
> > http://www.opus40.org/tadrichards/
> > http://opusforty.blogspot.com/
> >
> > The moral is this: in American verse,
> > The better you are, the pay is worse.
> >  --Corey Ford
> >
> > _______________________________________________
> > 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
> _______________________________________________
> 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 Feb 21 14:44:00 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 21 Feb 2008 20:44:00 +0100
Subject: [New-Poetry] Jeff Newberry sighting
In-Reply-To: <d587dfbb2e9fc.47bd8b62@mail.nyu.edu>
References: <47BD911F.5040705@opus40.org><731bb17a0802210907h4cca8c87nd32615d4147fae3c@mail.gmail.com>
	<d587dfbb2e9fc.47bd8b62@mail.nyu.edu>
Message-ID: <49CBB2BD092340F59C56113FAAAE4D7F@AnnyPC>

joining the choir! Great reading, also.

From: "Christopher Kelly" <chris.kelly at nyu.edu>
Cc: "NewPoetry: Contemporary Poetry News &amp, Views" 
<new-poetry at wiz.cath.vt.edu>
Subject: Re: [New-Poetry] Jeff Newberry sighting


>
> Lovely work, Jeff.
>
> Well done!
>
>
> ----- Original Message -----
> From: Jeff Newberry <jeff.newberry at gmail.com>
> Date: Thursday, February 21, 2008 12:10 pm
> Subject: Re: [New-Poetry] Jeff Newberry sighting
> To: "NewPoetry: Contemporary Poetry News &amp, Views" 
> <new-poetry at wiz.cath.vt.edu>
>
>
>> Thanks, Mole.
>>
>> I appreciate your noticing.
>>
>> Best,
>> Jeff
>>
>> On Thu, Feb 21, 2008 at 9:56 AM, TheOldMole <Opus40-01 at opus40.org> wrote:
>>
>> > In the current issue of Cortland Review, a very tasty poem.
>> > Congratulations, Jeff!
>> >
>> > --
>> > Tad Richards
>> > http://www.opus40.org/tadrichards/
>> > http://opusforty.blogspot.com/
>> >
>> > The moral is this: in American verse,
>> > The better you are, the pay is worse.
>> >  --Corey Ford
>> >
>> > _______________________________________________
>> > 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
>> _______________________________________________
>> New-Poetry mailing list
>> New-Poetry at wiz.cath.vt.edu
>> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
> 




From jforjames at aol.com  Thu Feb 21 14:58:06 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 21 Feb 2008 14:58:06 -0500
Subject: [New-Poetry] Harper wins Frost Medal
Message-ID: <8CA42DB35E1C1AB-A68-1352@Webmail-mg05.sim.aol.com>


http://media.www.browndailyherald.com/media/storage/paper472/news/2008/02/20/CampusNews/English.Prof.Wins.Poetry.Award-3221830.shtml

English prof. wins poetry award
Alessandra Suuberg
Issue date: 2/20/08 Section: Campus News
Media Credit: Brown.edu
Professor of English Michael Harper
?
?
Professor of English Michael Harper is receiving the Poetry Society of America's Frost Medal for a lifetime of distinguished contribution to American poetry.


Harper, 69, has published 15 books of poetry. His most recent was a tribute to his father, titled, "I Do Believe in People: Remembrances of W. Warren Harper (1915-2004)." Harper has received numerous awards for his work and served as Rhode Island's first poet laureate from 1988 to 1993.


Now, the Poetry Society of America is honoring Harper with its Frost Medal for lifetime achievement - the organization's highest award, said PSA executive director Alice Quinn. Receiving the honor places Harper in eminent company: Allen Ginsberg, Wallace Stevens, Gwendolyn Brooks and the award's namesake, Robert Frost, are all past recipients.



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From shin02143 at aol.com  Thu Feb 21 15:15:45 2008
From: shin02143 at aol.com (shin02143 at aol.com)
Date: Thu, 21 Feb 2008 15:15:45 -0500
Subject: [New-Poetry] Harper wins Frost Medal
In-Reply-To: <8CA42DB35E1C1AB-A68-1352@Webmail-mg05.sim.aol.com>
References: <8CA42DB35E1C1AB-A68-1352@Webmail-mg05.sim.aol.com>
Message-ID: <8CA42DDAC9B45D7-BB8-1064@MBLK-M10.sysops.aol.com>


 Robert Frost was awarded the Frost Medal? How did that happen?

Richard


 


 

-----Original Message-----
From: jforjames at aol.com
To: new-poetry at wiz.cath.vt.edu
Sent: Thu, 21 Feb 2008 2:58 pm
Subject: [New-Poetry] Harper wins Frost Medal











http://media.www.browndailyherald.com/media/storage/paper472/news/2008/02/20/CampusNews/English.Prof.Wins.Poetry.Award-3221830.shtml




Now, the Poetry Society of America is honoring Harper with its Frost Medal for lifetime achievement - the organization's highest award, said PSA executive director Alice Quinn. Receiving the honor places Harper in eminent company: Allen Ginsberg, Wallace Stevens, Gwendolyn Brooks and the award's namesake, Robert Frost, are all past recipients.




?






More new features than ever.  Check out the new AOL Mail!





 





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New-Poetry mailing list
New-Poetry at wiz.cath.vt.edu
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From jforjames at aol.com  Thu Feb 21 15:36:59 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 21 Feb 2008 15:36:59 -0500
Subject: [New-Poetry] His Books In Stock At The Goodwill
Message-ID: <8CA42E0A4624DB4-81C-701@mblk-d36.sysops.aol.com>


http://blogs.guardian.co.uk/books/2008/02/have_you_read_the_worlds_most.html
Have you read the world's most widely-read poet?
He is a Pulitzer Prize nominee, a two-time Academy award nominee, the translator of Jacques Brel and the most successful living poet. And you've probably never heard of him

Have you read the world's most widely-read poet? 

Stuntman, rodeo cowboy, lumberjack, radio DJ, poet ... Rod McKuen

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From jforjames at aol.com  Thu Feb 21 15:39:09 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 21 Feb 2008 15:39:09 -0500
Subject: [New-Poetry] Harper wins Frost Medal
In-Reply-To: <8CA42DDAC9B45D7-BB8-1064@MBLK-M10.sysops.aol.com>
References: <8CA42DB35E1C1AB-A68-1352@Webmail-mg05.sim.aol.com>
	<8CA42DDAC9B45D7-BB8-1064@MBLK-M10.sysops.aol.com>
Message-ID: <8CA42E0F1EA656C-81C-72A@mblk-d36.sysops.aol.com>

What are you trying to suggest...that the fix was in that year?
Foetry redux.

-----Original Message-----
From: shin02143 at aol.com
To: new-poetry at wiz.cath.vt.edu
Sent: Thu, 21 Feb 2008 3:15 pm
Subject: Re: [New-Poetry] Harper wins Frost Medal



Robert Frost was awarded the Frost Medal? How did that happen?

Richard







-----Original Message-----
From: jforjames at aol.com
To: new-poetry at wiz.cath.vt.edu
Sent: Thu, 21 Feb 2008 2:58 pm
Subject: [New-Poetry] Harper wins Frost Medal



http://media.www.browndailyherald.com/media/storage/paper472/news/2008/02/20/CampusNews/English.Prof.Wins.Poetry.Award-3221830.shtml



Now, the Poetry Society of America is honoring Harper with its Frost Medal for lifetime achievement - the organization's highest award, said PSA executive director Alice Quinn. Receiving the honor places Harper in eminent company: Allen Ginsberg, Wallace Stevens, Gwendolyn Brooks and the award's namesake, Robert Frost, are all past recipients.

?

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From bobgrumman at nut-n-but.net  Thu Feb 21 17:29:07 2008
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Thu, 21 Feb 2008 17:29:07 -0500
Subject: [New-Poetry] Harper wins Frost Medal
In-Reply-To: <8CA42E0F1EA656C-81C-72A@mblk-d36.sysops.aol.com>
References: <8CA42DB35E1C1AB-A68-1352@Webmail-mg05.sim.aol.com><8CA42DDAC9B45D7-BB8-1064@MBLK-M10.sysops.aol.com>
	<8CA42E0F1EA656C-81C-72A@mblk-d36.sysops.aol.com>
Message-ID: <47BDFB33.9000009@nut-n-but.net>



jforjames at aol.com wrote:
> What are you trying to suggest...that the fix was in that year?
> Foetry redux.

Sounds to me more like that was the one year the fix wasn't in--Frost 
was a major poet.

--Bob G.



From shin02143 at aol.com  Thu Feb 21 18:16:14 2008
From: shin02143 at aol.com (shin02143 at aol.com)
Date: Thu, 21 Feb 2008 18:16:14 -0500
Subject: [New-Poetry] Harper wins Frost Medal
In-Reply-To: <8CA42E0F1EA656C-81C-72A@mblk-d36.sysops.aol.com>
References: <8CA42DB35E1C1AB-A68-1352@Webmail-mg05.sim.aol.com>	<8CA42DDAC9B45D7-BB8-1064@MBLK-M10.sysops.aol.com>
	<8CA42E0F1EA656C-81C-72A@mblk-d36.sysops.aol.com>
Message-ID: <8CA42F6E3B3BFB1-974-1205@webmail-mf10.sysops.aol.com>

So it doth seem. <g>


-----Original Message-----
From: jforjames at aol.com
To: new-poetry at wiz.cath.vt.edu
Sent: Thu, 21 Feb 2008 3:39 pm
Subject: Re: [New-Poetry] Harper wins Frost Medal







What are you trying to suggest...that the fix was in that year?

Foetry redux.



-----Original Message-----

From: shin02143 at aol.com

To: new-poetry at wiz.cath.vt.edu

Sent: Thu, 21 Feb 2008 3:15 pm

Subject: Re: [New-Poetry] Harper wins Frost Medal









Robert Frost was awarded the Frost Medal? How did that happen?



Richard

















-----Original Message-----

From: jforjames at aol.com

To: new-poetry at wiz.cath.vt.edu

Sent: Thu, 21 Feb 2008 2:58 pm

Subject: [New-Poetry] Harper wins Frost Medal









http://media.www.browndailyherald.com/media/storage/paper472/news/2008/02/20/CampusNews/English.Prof.Wins.Poetry.Award-3221830.shtml








Now, the Poetry Society of America is honoring Harper with its Frost Medal for lifetime achievement - the organization's highest award, said PSA executive director Alice Quinn. Receiving the honor places Harper in eminent company: Allen Ginsberg, Wallace Stevens, Gwendolyn Brooks and the award's namesake, Robert Frost, are all past recipients.




?








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From millb at aol.com  Thu Feb 21 18:44:36 2008
From: millb at aol.com (millb at aol.com)
Date: Thu, 21 Feb 2008 18:44:36 -0500
Subject: [New-Poetry] Madison
In-Reply-To: <8CA42D733398BCB-A68-11AE@Webmail-mg05.sim.aol.com>
References: <8CA42D733398BCB-A68-11AE@Webmail-mg05.sim.aol.com>
Message-ID: <8CA42FAD9E749F9-C54-632A@webmail-nc18.sysops.aol.com>


Greetings,

My work takes me to Madison WI in mid-March.? Anyone know of poetry events or readings in Madison during this time?? I'll be staying over for at least one weekend, but plans aren't completely in place as of yet.

Cheers,

Millicent

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From AlMaginnes at aol.com  Thu Feb 21 19:04:33 2008
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Thu, 21 Feb 2008 19:04:33 EST
Subject: [New-Poetry] Jeff Newberry sighting
Message-ID: <bdd.26b81ece.34ef6b91@aol.com>

Nice poem, Jeff.



**************Ideas to please picky eaters. Watch video on AOL Living.      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)
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From Opus40-01 at opus40.org  Thu Feb 21 23:42:58 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Thu, 21 Feb 2008 23:42:58 -0500
Subject: [New-Poetry] new Arkansas prize
In-Reply-To: <8CA42D733398BCB-A68-11AE@Webmail-mg05.sim.aol.com>
References: <8CA42D733398BCB-A68-11AE@Webmail-mg05.sim.aol.com>
Message-ID: <47BE52D2.4050804@opus40.org>

So this will be exactly the same, except named for Miller Williams.

jforjames at aol.com wrote:
> http://dailyheadlines.uark.edu/12357.htm
> FOR RELEASE: Thursday, February 21, 2008
> University of Arkansas Press's New Poetry Prize and Two New Collections
>
> FAYETTEVILLE, Ark. - The University of Arkansas Press has established 
> a new poetry prize to honor the Press's co-founder and first director, 
> Miller Williams. The Miller Williams Poetry Prize is a $5,000 prize to 
> be awarded to the best poetry manuscript submitted to the Press in 
> September and October of 2008, for publication in 2010. In addition to 
> publishing the finalist, three semi-finalists will also be published 
> in 2010. All books will be published in the Press's long-time Poetry 
> Series, edited by Enid Shomer. Four new books of poetry have been 
> published every year as part of this series.
> ------------------------------------------------------------------------
> More new features than ever. Check out the new AOL Mail 
> <http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=aolcmp00050000000003>!
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>   

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

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From AlMaginnes at aol.com  Fri Feb 22 08:44:47 2008
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Fri, 22 Feb 2008 08:44:47 EST
Subject: [New-Poetry] new Arkansas prize
Message-ID: <d00.268b9010.34f02bcf@aol.com>

Miller deserves a prize named after him. I don't recall that there was a  
$5000 prize attached before. I'd like to see Arkansas get back to publishing  
poetry at the rate they did when Miller ran hte  press.



**************Ideas to please picky eaters. Watch video on AOL Living.      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)
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From grahamd at ripon.edu  Fri Feb 22 08:59:25 2008
From: grahamd at ripon.edu (David Graham)
Date: Fri, 22 Feb 2008 07:59:25 -0600
Subject: [New-Poetry] Rock & Roll and Poetic Composition
Message-ID: <E4BA54C1-EC8E-47DE-B61D-5498FDCD3F39@ripon.edu>

An odd & interesting piece on poetry & music.  An ABC essay (excerpts  
from E & F below, followed by link to full essay).


Parallel Lines and Power Chords: A Meditative ABC on Rock & Roll and  
Poetic Composition

by Michael Morse



E is for "ending." I'm always a sucker for the long, extended,  
reflective, meditative jam at the end of a song that swells towards a  
conclusion, simultaneously meditative and edgy. I think of Frank  
Zappa's meditative solos in "Watermelon in Easter Hay" from his  
crazily operatic Joe's Garage, or Talk Talk on their album Laughing  
Stock, or any number of narratives ("Telegraph Road" comes to mind)  
by Dire Straits. Perhaps my personal favorite: the Pixies' "No. 13  
baby" on their Doolittle release. It fronts the edgy lyricism of  
petulantly savvy Black Francis and ends in a satisfying feast of surf  
guitar rhythms, Kim Deal's pulsing bass, and a sharp Joey Santiago  
solo that fades off into the songset?put on the 11th cut and take  
note when the song hits the two-minute mark?the next minute and 50  
seconds are exponential bliss. Download Tom Petty's song "It's Good  
to be King" and wait out its simple lyrics until the melancholy pop  
slides into something ethereal. The tension between beauty and power  
and the more tentative or reflective creeping out into new territory  
inspire a kind of reverie, a poetic dreaming.

F is for fragment, our cultural bellwether. Find it in the sound  
bite, the jump cut, the sample, the appropriated image or text: "A  
glimpse suffices to trigger an entirety," says Cole Swenson.

I've taught with Ann Carson's collection of Sappho's fragments (If  
Not, Winter), asking students to generate their own language within  
the bracketed spaces, indications where missing papyrus once housed  
language?letting them use the Sapphic fragments as springboards to  
work of their own. The work of discernible fragments and gaps rife  
with potential for play reminds me of listening to Rock as a child.  
In singing along or deciphering, fragments and snatches were the  
order of the day, with mistakes and missteps de rigueur. Echoing the  
compilation of misheard song lyrics, 'Scuse Me While I Kiss This Guy,  
I remember how a friend once thought that the refrain in the Beatles'  
"Paperback Writer" was "Take the back right turn." I've always loved  
the space to play off of a text, and Sappho's fragments remind me how  
Rock lyrics, in drips and drabs, clear or garbled, can also generate  
a play space for language. Speaking of play space and the letter F,  
let us praise funk?as in Parliament, as in George Clinton. Funk with  
bagpipes and strings? Oh, yes.

http://www.poets.org/viewmedia.php/prmMID/20010? 
utm_source=poetsupdate_022108&utm_medium=newsletter&utm_campaign=content 
&utm_content=morse_abc


========================================
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  Fri Feb 22 09:14:33 2008
From: cervantes.james at gmail.com (James Cervantes)
Date: Fri, 22 Feb 2008 07:14:33 -0700
Subject: [New-Poetry] Rock & Roll and Poetic Composition
In-Reply-To: <E4BA54C1-EC8E-47DE-B61D-5498FDCD3F39@ripon.edu>
References: <E4BA54C1-EC8E-47DE-B61D-5498FDCD3F39@ripon.edu>
Message-ID: <648208b60802220614w4e00d045v86e537b11789ad2f@mail.gmail.com>

Hmm. Much food for musing.  Thanks, David.

- Jim

On 2/22/08, David Graham <grahamd at ripon.edu> wrote:
>
> An odd & interesting piece on poetry & music.  An ABC essay (excerpts from E
> & F below, followed by link to full essay).
>
>
> Parallel Lines and Power Chords: A Meditative ABC on Rock & Roll and Poetic
> Composition
>
>
> by Michael Morse
>
>
>
>
>
> E is for "ending." I'm always a sucker for the long, extended, reflective,
> meditative jam at the end of a song that swells towards a conclusion,
> simultaneously meditative and edgy. I think of Frank Zappa's meditative
> solos in "Watermelon in Easter Hay" from his crazily operatic Joe's Garage,
> or Talk Talk on their album Laughing Stock, or any number of narratives
> ("Telegraph Road" comes to mind) by Dire Straits. Perhaps my personal
> favorite: the Pixies' "No. 13 baby" on their Doolittle release. It fronts
> the edgy lyricism of petulantly savvy Black Francis and ends in a satisfying
> feast of surf guitar rhythms, Kim Deal's pulsing bass, and a sharp Joey
> Santiago solo that fades off into the songset?put on the 11th cut and take
> note when the song hits the two-minute mark?the next minute and 50 seconds
> are exponential bliss. Download Tom Petty's song "It's Good to be King" and
> wait out its simple lyrics until the melancholy pop slides into something
> ethereal. The tension between beauty and power and the more tentative or
> reflective creeping out into new territory inspire a kind of reverie, a
> poetic dreaming.
>
> F is for fragment, our cultural bellwether. Find it in the sound bite, the
> jump cut, the sample, the appropriated image or text: "A glimpse suffices to
> trigger an entirety," says Cole Swenson.
>
> I've taught with Ann Carson's collection of Sappho's fragments (If Not,
> Winter), asking students to generate their own language within the bracketed
> spaces, indications where missing papyrus once housed language?letting them
> use the Sapphic fragments as springboards to work of their own. The work of
> discernible fragments and gaps rife with potential for play reminds me of
> listening to Rock as a child. In singing along or deciphering, fragments and
> snatches were the order of the day, with mistakes and missteps de rigueur.
> Echoing the compilation of misheard song lyrics, 'Scuse Me While I Kiss This
> Guy, I remember how a friend once thought that the refrain in the Beatles'
> "Paperback Writer" was "Take the back right turn." I've always loved the
> space to play off of a text, and Sappho's fragments remind me how Rock
> lyrics, in drips and drabs, clear or garbled, can also generate a play space
> for language. Speaking of play space and the letter F, let us praise funk?as
> in Parliament, as in George Clinton. Funk with bagpipes and strings? Oh,
> yes.
> http://www.poets.org/viewmedia.php/prmMID/20010?utm_source=poetsupdate_022108&utm_medium=newsletter&utm_campaign=content&utm_content=morse_abc
>
>
> ========================================
> 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
>
>


-- 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ 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://www.flickr.com/photos/12364573 at N08/



From Opus40-01 at opus40.org  Fri Feb 22 11:01:05 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Fri, 22 Feb 2008 11:01:05 -0500
Subject: [New-Poetry] Romance of the Century
Message-ID: <47BEF1C1.9050306@opus40.org>

...and one that you may have missed, at http://opusforty.blogspot.com/

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

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From chan_jt at hotmail.com  Sat Feb 23 01:27:00 2008
From: chan_jt at hotmail.com (JT Chan)
Date: Sat, 23 Feb 2008 06:27:00 +0000
Subject: [New-Poetry] (no subject)
Message-ID: <BLU134-W30778D5244E698B400E2198A1E0@phx.gbl>


http://poetrysz.blogspot.com
Issue 25 features new work by:
Stu HattonLinda BenninghoffDanielle AdairMary KasimorBobbi LurieTim MartinDavid McFaddenGertrude HalsteadBruce StaterPatrick Mc Manus
Submissions for the next issue now open.  Send 4-6 poems, and a short bio, in the body of your e-mail, to poetrysz at yahoo.com . Please read the submission guidelines before submitting.
Thank you.
 
regards
 
J Chaneditor
_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today it's FREE!
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From halvard at earthlink.net  Sun Feb 24 12:15:27 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Sun, 24 Feb 2008 11:15:27 -0600
Subject: [New-Poetry] kleinzahler on Creeley
Message-ID: <B4450BEC-1B81-427B-B312-42E3517A965E@earthlink.net>

The NYT online seems to have taken to lowercasing the last names of
its writers when they appear below their pieces. What's going on with
that?

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

====


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February 24, 2008
What Is Left Out

By AUGUST KLEINZAHLER
ROBERT CREELEY

Selected Poems, 1945-2005.

Edited by Benjamin Friedlander.

338 pp. University of California Press. Cloth, $55; paper, $21.95.

Robert Creeley (1926-2005) was one of the darker poets of his  
generation, and also one of the best. He experienced hardship early  
on, losing his father, and also his left eye from an accident, by the  
time he was 5. The death of his father, a doctor, straitened the  
family?s circumstances. But the character of his darkness probably has  
more to do with New England ? Hawthorne?s ?grave and dark-clad  
company? ? than anything else. It?s a severity of outlook that  
underpins the work of Emily Dickinson and Robert Frost, as well.

In Creeley?s poetry the bleakness often finds its expression in a  
tortured self-regard, an almost panicked need for engaging experience,  
usually interior experience, by enacting it in language, syllable by  
syllable, line by line. One often feels while reading his work that if  
there is any misstep, any syllable or stress put wrong, not only the  
poem but its maker will either go up in flames or disappear down a  
black crevasse. This is the drama of Creeley?s defining work, and that  
drama never feels calculated or inauthentic.

Creeley?s best work came early. This is not unusual. For example:  
Stevens?s ?Harmonium,? Crane?s ?White Buildings,? Frost?s ?North of  
Boston,? Pound?s ?Personae,? Eliot?s ?Waste Land.? Creeley found his  
mature style by his mid-20s. His first significant collection, ?For  
Love: Poems 1950-1960,? was published in 1962 by Scribner when Creeley  
was 36. It was, and remains, an extraordinary book; much of the poetry  
in the collection feels as bristling and nervy today as it must have  
felt 46 years ago. Up to that point, Creeley had been living what  
seems to have been a frantically peripatetic and shambolic existence.  
He moved back and forth between New Hampshire, where he worked on a  
chicken farm; Albuquerque; Black Mountain College; Majorca; Lambesc in  
the South of France; San Francisco; and Guatemala, scrambling for  
money, one wife or another and children in tow. He would presently be  
famous, at least among poets and readers of poetry. ?For Love? sold  
some 47,000 copies, a figure almost unheard of for a serious book of  
poems, and challenging poems at that.

No American poet was more influential or imitated over the next  
quarter-century, an influence that was not entirely benign. What can  
sometimes seem offhand, slight and casually improvised in Creeley?s  
work is not at all what it appears to be. But these are the qualities  
and attendant sense of permission that lesser writers fastened on.  
Creeley, as with many masters, whether in sport or literature, made it  
look easy.

The poems of the ?50s and ?60s, and many thereafter, tend to be small,  
stripped-down affairs, as bare-boned as Beckett. They are  
asymmetrical, highly tensile constructions. The voice is anonymous,  
agitated, distressed. The movement of a typical Creeley poem is  
halting, and jittery, with the lines turning nervously back on  
themselves, particular words or phrases served up over and over in  
different syntactical contexts, the poet worrying them for meaning.  
Here is a bit of ?The Rain?:

even the hardness,
of rain falling
will have for me

something other than this,
something not so insistent ?
and I to be locked in this
final uneasiness.

Love, if you love me,
lie next to me.
Be for me, like rain,
the getting out

of the tiredness, the fatuousness, the semi-
lust of intentional indifference.
Be wet
with a decent happiness.

Among the many influences at work in Creeley?s poetry, William Carlos  
Williams seems to be foremost, most evidently in the unusual weight  
Creeley gives to enjambment in his lines. It is through this device  
that the poet creates his signature set of tensions. Few other poets,  
including Williams, make such telling events of their line breaks. But  
also in the mix from Williams is the plain diction and conversational  
tone. Both poets were fascinated with the cadences of ordinary  
American talk. Also, both poets steer clear of metaphor and simile.  
And if Williams is wary of adjectives, Creeley seems to have a real  
abhorrence of them.

 From Ezra Pound as well as Williams, Creeley learned concision. The  
silences and what is left out of any given Creeley poem carry equal  
weight with what is written down, and it is impossible to read Creeley  
intelligently without taking this into account, much as one has to do  
with traditional Chinese or Japanese poetry. Also, it was through  
Pound that Creeley was introduced to the poetry of Thomas Campion and  
other Jacobeans, whose music and use of rhyme he found compatible with  
his own poetic enterprise. Creeley, when using rhyme, employs it at  
unpredictable intervals and as a form of emphasis. The poet was also  
clearly drawn to the Elizabethan and Jacobean anonymity of voice and  
form of address, usually to a woman ? in which case the site of  
address is likely to be the bedroom ? or himself. Creeley has no equal  
among modern love poets writing in English, even if love for Creeley  
is characteristically an occasion for turmoil and rather grim  
business. Here is ?The Warning? in its entirety:

For love ? I would
split open your head and put
a candle in
behind the eyes.

Love is dead in us
if we forget
the virtues of an amulet
and quick surprise.

For readers coming to Creeley?s work for the first time, the format of  
a ?Selected Poems? is the best way in, and this new ?Selected,?  
supplanting a 1991 edition, is well chosen by Benjamin Friedlander. It  
includes a number of moving later poems not included in the earlier  
volume, many on the subject of aging, most notably the poem ?When I  
Think? from Creeley?s final collection, ?On Earth.?

Creeley wrote and published a great deal over a lengthy career. Once  
into the ?70s, the distinctive early style seemed to harden into  
mannerism. Creeley was casting about during these years. Always a risk- 
taker, always restless, he had become impatient with his earlier  
method. ?I grew inexorably bored with the tidy containment of clusters  
of words on single pieces of paper called ?poems? ? ?this will really  
get them, wrap it up. ...? I could see nothing in my life nor those of  
others adjacent that supported this single hits theory,? Creeley wrote  
in 1974. Like the painters and musicians he admired and liked to  
collaborate with, Robert Creeley was one of those artists who refused  
to let himself be bored by his own art. The reader will find very  
little to be bored by in this brilliant, essential volume.

August kleinzahler is the author of ?Cutty, One Rock.? A new  
collection of his poems, ?Sleeping It Off in Rapid City: Poems New &  
Selected,? will be published in the spring.




From anny.ballardini at tin.it  Sun Feb 24 17:07:20 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 24 Feb 2008 23:07:20 +0100
Subject: [New-Poetry] Vico
Message-ID: <5F01596A9E944DCD92905233628D027C@AnnyPC>

363.

Throughout this book it will be shown that as much as the poets had first sensed in the way of vulgar wisdom, the philosophers later understood in the way of esoteric wisdom: so that the former may be said to have been the sense and the latter the intellect of the human race. What Aristotle [On the Soul 432a7f] said of the individual man is therefore true of the race in general: Nihil est in intellectu quin prius fuerit in sensu. That is, the human mind does not understand anything of which it has had no previous impression (which our modern metaphysicians call 'occasion') from the senses. Now the mind uses the intellect when, from something it senses, it gathers something which does not fall under the senses: and this is the proper meaning of the Latin verb intelligere.

Giambattista Vico, The New Science


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

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! 
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From grahamd at ripon.edu  Sat Feb 23 12:20:27 2008
From: grahamd at ripon.edu (David Graham)
Date: Sat, 23 Feb 2008 11:20:27 -0600
Subject: [New-Poetry] Kleinzahler on Creeley
Message-ID: <7558AA93-F648-4AD8-9B50-423CDD4198C4@ripon.edu>

Likes him.  A lot.

http://www.nytimes.com/2008/02/24/books/review/Kleinzahler-t.html? 
ref=review





========================================
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 atelierjewelweed at gmail.com  Sun Feb 24 15:51:05 2008
From: atelierjewelweed at gmail.com (Suzanne Burns)
Date: Sun, 24 Feb 2008 15:51:05 -0500
Subject: [New-Poetry] Romance of the Century
In-Reply-To: <47BEF1C1.9050306@opus40.org>
References: <47BEF1C1.9050306@opus40.org>
Message-ID: <bda48ea50802241251p653268a8la63fe49139bf535a@mail.gmail.com>

"When a boot hits your eye
like a big Nazi spy
that's a Daddy?"


O.O

That is one of the best poems about Plath I have read EVAH.

Bring it on!

Suzanne




On Fri, Feb 22, 2008 at 11:01 AM, TheOldMole <Opus40-01 at opus40.org> wrote:
> ...and one that you may have missed, at http://opusforty.blogspot.com/
>
>  --
>  Tad Richards
>  http://www.opus40.org/tadrichards/
>  http://opusforty.blogspot.com/
>
>  The moral is this: in American verse,
>  The better you are, the pay is worse.
>   --Corey Ford
>
>  _______________________________________________
>  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  Mon Feb 25 03:28:57 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 25 Feb 2008 09:28:57 +0100
Subject: [New-Poetry] Robert Bly on the Writer's Almanac
Message-ID: <44B3596141CD4E49B9C135BA50D69E16@AnnyPC>

and happy Birthday to Renoir!


Poem: "Snowbanks North of the House" by Robert Bly, from Selected Poems. ? Harper Collins. Reprinted with permission. 

Snowbanks North of the House

Those great sweeps of snow that stop suddenly six feet
        from the house...
Thoughts that go so far.
The boy gets out of high school and reads no more books;
the son stops calling home.
The mother puts down her rolling pin and makes no more 
        bread.
And the wife looks at her husband one night at a party 
        and loves him no more.
The energy leaves the wine, and the minister falls leaving 
        the church.
It will not come closer-
the one inside moves back, and the hands touch nothing,
         and are safe.

And the father grieves for his son, and will not leave the
         room where the coffin stands;
he turns away from his wife, and she sleeps alone.

And the sea lifts and falls all night; the moon goes on
         through the unattached heavens alone.
And the toe of the shoe pivots 
in the dust...
The man in the black coat turns, and goes back down the 
        hill.
No one knows why he came, or why he turned away, and 
       did not climb the hill. 



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

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! 
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From gmguddi at ilstu.edu  Mon Feb 25 11:53:21 2008
From: gmguddi at ilstu.edu (Gabriel Gudding)
Date: Mon, 25 Feb 2008 10:53:21 -0600
Subject: [New-Poetry] Odelius & Belz - The Pierre Bourdieu Memorial Reading
 Series - ISU, Normal, Illinois March 3
Message-ID: <47C2F281.1040308@ilstu.edu>

Please join us next Monday at 7pm in the CVA Gallery:

For the inaugural reading in The Pierre Bourdieu Memorial Reading Series 
(see end of press release for more information about this series).

Kristy Odelius & Aaron Belz.

KRISTY ODELIUS is an Assistant Professor of English at North Park
University. Her work in a variety of venues, including Chicago Review,
Notre Dame Review, ACM, GutCult, La Petite Zine, Diagram, etc. Her poems
are anthologized in The City Visible: Chicago Poetry for the New Century
(Cracked Slab Books). Her chapbook Bee Spit was published by dancing
girl press in December 2007

AARON BELZ, from St. Louis, is known nationally through his many
publications in journals like LIT, Fence, Court Green, Painted Bride
Quarterly, Black Clock, and Fine Madness, as well as through his series,
Observable Readings (http://observable.org) which has showcased more
than a hundred poets since 2003.

Of his first book, The Bird Hoverer (BlazeVOX, 2007), The Boston Review
writes, "These impressive, loopy poems are touched by a raw grace of
mind and nimble phrasing."

JACKET describes Belz as "a poet who has retained a sense of childlike
amazement. His eclectic reference points attest to a wide-eyed
fascination with the world. He commingles high and low culture, the
historical and the contemporary."

His second collection of poems, _Direction_, is forthcoming from Persea
Books. More information about Aaron Belz is available at http://belz.net.

***

The "Pierre Bourdieu Memorial Readings Series" is so-named to
commemorate the contributions of this important sociologist to a
critical understanding of a range of phenomena specific to the field of
cultural production against which, in which, and through which social
actors such as writers, readers, students and professors create,
consecrate, fetishize, and disparage. Bourdieu's theories and
methodologies provide unusually perspicuous tools with which to correct
subtle and pervasive injustices in the field and to envision the
possibility of a community of friendly makers less beholden to the
illusions of aestheticism, the fetish of the author, and the
preciosity of writing -- for a closer, sparer, clearer relation to use,
wonder, kindness, being, love, world.

The "Pierre Bourdieu Memorial Readings Series" is associated with and
spiritually sponsored by MANDORLA: NEW WRITING FROM THE AMERICAS, a
magazine we are particularly proud to have here at ISU.

Gabriel

---

Celebration ... is
self-restraint, is attentiveness, is
questioning, is meditating, is awaiting,
is the step over into the more
wakeful glimpse of the wonder -- the
wonder that a world is worlding
around us at all, that there are
beings rather than nothing, that
things are and we ourselves are
in their midst, that we ourselves
are and yet barely know who we are,
and barely know that we do not know this.

- Martin Heidegger
--
http://gabrielgudding.blogspot.com/
http://rhodeislandnotebook.blogspot.com/


From Peter.Munro at noaa.gov  Mon Feb 25 13:03:00 2008
From: Peter.Munro at noaa.gov (Peter Munro)
Date: Mon, 25 Feb 2008 10:03:00 -0800
Subject: [New-Poetry] lurker alert
Message-ID: <47C302D4.3040907@noaa.gov>

Greetings,

I have just subscribed to New-Poetry, following David Graham's generic 
invitation on another list.

I'll just sit in the background and listen, I think.  At least for 
awhile.  But I thought it only fair to notify you that one more set of 
ears is listening to your voices.

Peter Munro


From jforjames at aol.com  Mon Feb 25 13:03:13 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 25 Feb 2008 13:03:13 -0500
Subject: [New-Poetry] =?utf-8?q?Re=3A_Poet=E2=80=99s_Bookshelf_II?=
In-Reply-To: <d14.1c46da9a.34f19c7f@aol.com>
References: <d14.1c46da9a.34f19c7f@aol.com>
Message-ID: <8CA45EFD30E21EA-ECC-C58@FWM-M16.sysops.aol.com>



Poet?s Bookshelf II
http://www.bsu.edu/classes/koontz/barnwood/indbks/davis2.htm
Edited by Peter Davis and? Tom Koontz

?

As with P B I, the book contains a large (101, in fact) and diverse crop of contemporary poets. The editor was consciously trying to cut across a range of poetic sensibilities.

?

As in the first book, the poets were asked to ?name 5-10 books that have been 'essential' to you, as a poet.? And then to make some comments on the books they?d chosen.

?

It would have been nice if they?d compiled a complete bibliography of the books mentioned.? But as in the last book, they did tabulate the selections, listing the most frequently named authors?

?

Wallace Stevens (16)
Emily Dickinson (14)
Pablo Neruda, Walt Whitman (13)
Elizabeth Bishop, Wm. Shakespeare, William Stafford, Gertrud Stein, William Carlos, Williams (12)
Then, slipping into single digits?
John Ashbery, T.S. Eliot, Richard Hugo, Frank O?Hara, Sylvia Plath, James Wright (9)
Ezra Pound, Ranier Maria Rilke (8)
And so on?



Finnegan



Delicious ideas to please the pickiest eaters. Watch the video on AOL Living.


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From lattaj at umich.edu  Mon Feb 25 13:16:12 2008
From: lattaj at umich.edu (John Latta)
Date: Mon, 25 Feb 2008 13:16:12 -0500 (EST)
Subject: [New-Poetry] =?utf-8?q?Re=3A_Poet=E2=80=99s_Bookshelf_II?=
In-Reply-To: <8CA45EFD30E21EA-ECC-C58@FWM-M16.sysops.aol.com>
References: <d14.1c46da9a.34f19c7f@aol.com>
	<8CA45EFD30E21EA-ECC-C58@FWM-M16.sysops.aol.com>
Message-ID: <Pine.LNX.4.64.0802251313410.32592@rygar.gpcc.itd.umich.edu>

Splendid, that Richard Hugo'd rank so high. (Though, as I write that, I 
think, it's almost certainly due to _The Triggering Town_, rather than to 
the poems.)

I always loved the letter poems.

John


On Mon, 25 Feb 2008, jforjames at aol.com wrote:

>
>
> Poet???s Bookshelf II
> http://www.bsu.edu/classes/koontz/barnwood/indbks/davis2.htm
> Edited by Peter Davis and?? Tom Koontz
>
> ??
>
> As with P B I, the book contains a large (101, in fact) and diverse crop of contemporary poets. The editor was consciously trying to cut across a range of poetic sensibilities.
>
> ??
>
> As in the first book, the poets were asked to ???name 5-10 books that have been 'essential' to you, as a poet.??? And then to make some comments on the books they???d chosen.
>
> ??
>
> It would have been nice if they???d compiled a complete bibliography of the books mentioned.?? But as in the last book, they did tabulate the selections, listing the most frequently named authors???
>
> ??
>
> Wallace Stevens (16)
> Emily Dickinson (14)
> Pablo Neruda, Walt Whitman (13)
> Elizabeth Bishop, Wm. Shakespeare, William Stafford, Gertrud Stein, William Carlos, Williams (12)
> Then, slipping into single digits???
> John Ashbery, T.S. Eliot, Richard Hugo, Frank O???Hara, Sylvia Plath, James Wright (9)
> Ezra Pound, Ranier Maria Rilke (8)
> And so on???
>
>
>
> Finnegan
>
>
>
> Delicious ideas to please the pickiest eaters. Watch the video on AOL Living..
>
>
> ________________________________________________________________________
> More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
>

From jforjames at aol.com  Mon Feb 25 13:55:26 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 25 Feb 2008 13:55:26 -0500
Subject: [New-Poetry] Fwd: Poem of the Week- Mary Jo Firth Gillett
In-Reply-To: <c1c.2c8a093d.34f18e64@aol.com>
References: <c1c.2c8a093d.34f18e64@aol.com>
Message-ID: <8CA45F71E4D64F8-ECC-108E@FWM-M16.sysops.aol.com>







Attached Message




From:

PoemoftheWeek.org <andrewmcfadyenketchum at poemoftheweek.org>



To:

Poem of theWeek <andrewmcfadyenketchum at poemoftheweek.org>



Subject:

Poem of the Week- Mary Jo Firth Gillett



Date:

Fri, 22 Feb 2008 19:21:17 -0600








Poem Of The Week?? 02-22-08?
?

????????????????????



Mary Jo Firth Gillett


?

????????????????????



Mary Jo Firth Gillett


?











?

?
Itch, Scratch

??? 

??? ??? ??? ??? ??? -after Stephen Dunn

?

>From everywhere and all-at-once,

from somewhere beneath the moon,

came the deep-sea fish that needed

to see, came the not-yet-flying squirrel

eyeing the two-far limb, came whale

and dolphin and bigger brains, 

hair before razor, less fur more skin,

the opposable thumb, and fingers

for rings, for triggers, and of course

the triggerfish, though not in that order,

?

came bate-and-switch, lure and gulp,

the alligator snapping turtle, 

came dog and god and much later

The Spanish Inquisition not-for-the-inquisitive,

came the rack and correct truths

and a need to stretch the truth,

?

and then a taller world? 

upright posture before posturing?

came anger and angst and absinthe,

wastelines fat and thin, fancier hair and skin,

hook and eye in search of closure, exposure,

came style and stink and thus the harpoon,

and soon demigods and demitasse,

swagger and soiree, clipper ship and film clip,

and (without order) pit bulls, tar pits, cherry pits and pitfalls,

bells to sound joy, danger, and then

?

a complex of fears, because with neurons

come neurosis, bats in our belfry,

a lift from Zoloft, and learning to embrace

your beard of bees, your May your mayhem,

the hive of days honeycombed

with sweetness and stings.

?

?

Dear Departed Reverend Grandfathers,

?

there?s no way to explain my wallowing

?in fields of burdock, golden rod, yarrow, 

the lure of rocks that hide slime-pathed slugs,

?pillbugs, dewy leaves that prism sunlight

into muted stained-glass Sundays I still carry,

?close as a pocket, familiar as a tongue,

my child eyes and ears infused with spectacle,

?thin voices singing as hands pantomimed,

This little light of mine, I?m gonna let it shine,

?

?a wish to hold, to shape the world

as we passed that brass collection plate

?up and down the pews of the few who knew

beyond the shadow of a doubt what was what,

?poems proffering wine and wafer, mouths little O?s

closing on metaphor? site and sound beyond sense?

?the sheer pressing opulence of cattail, cane,

chicory, the blood love of my children,

?the deep sweet oblivion of skin on skin.

invisible as Venus in daytime.

?

?Grandfathers, where are you in this restless

flurry of taught-ribbed leaves turning in the wind,

?quackgrass, timothy, bulrush, rising in

roadside and field?? In the irrepressible green,

?somewhere beyond my own embroideries,

what thin strand in chlorophyll and red cell,

?in amoeba and sperm whale, in the complex

turnings of unseen meiosis, gamete, straining

?for replication, threads through all

like the drawstring of an enormous bag?

?


Itch, Scratch

??? 

??? ??? ??? ??? ??? -after Stephen Dunn

?

>From everywhere and all-at-once,

from somewhere beneath the moon,

came the deep-sea fish that needed

to see, came the not-yet-flying squirrel

eyeing the two-far limb, came whale

and dolphin and bigger brains, 

hair before razor, less fur more skin,

the opposable thumb, and fingers

for rings, for triggers, and of course

the triggerfish, though not in that order,

?

came bate-and-switch, lure and gulp,

the alligator snapping turtle, 

came dog and god and much later

The Spanish Inquisition not-for-the-inquisitive,

came the rack and correct truths

and a need to stretch the truth,

?

and then a taller world? 

upright posture before posturing?

came anger and angst and absinthe,

wastelines fat and thin, fancier hair and skin,

hook and eye in search of closure, exposure,

came style and stink and thus the harpoon,

and soon demigods and demitasse,

swagger and soiree, clipper ship and film clip,

and (without order) pit bulls, tar pits, cherry pits and pitfalls,

bells to sound joy, danger, and then

?

a complex of fears, because with neurons

come neurosis, bats in our belfry,

a lift from Zoloft, and learning to embrace

your beard of bees, your May your mayhem,

the hive of days honeycombed

with sweetness and stings.

?

?

Dear Departed Reverend Grandfathers,

?

there?s no way to explain my wallowing

?in fields of burdock, golden rod, yarrow, 

the lure of rocks that hide slime-pathed slugs,

?pillbugs, dewy leaves that prism sunlight

into muted stained-glass Sundays I still carry,

?close as a pocket, familiar as a tongue,

my child eyes and ears infused with spectacle,

?thin voices singing as hands pantomimed,

This little light of mine, I?m gonna let it shine,

?

?a wish to hold, to shape the world

as we passed that brass collection plate

?up and down the pews of the few who knew

beyond the shadow of a doubt what was what,

?poems proffering wine and wafer, mouths little O?s

closing on metaphor? site and sound beyond sense?

?the sheer pressing opulence of cattail, cane,

chicory, the blood love of my children,

?the deep sweet oblivion of skin on skin.

invisible as Venus in daytime.

?

?Grandfathers, where are you in this restless

flurry of taught-ribbed leaves turning in the wind,

?quackgrass, timothy, bulrush, rising in

roadside and field?? In the irrepressible green,

?somewhere beyond my own embroideries,

what thin strand in chlorophyll and red cell,

?in amoeba and sperm whale, in the complex

turnings of unseen meiosis, gamete, straining

?for replication, threads through all

like the drawstring of an enormous bag?

?




?


?
?
Mary Jo Firth Gillett received a Master of Fine Arts in Poetry from Vermont College. Her work has appeared in the Gettysburg Review, Harvard Review, Michigan Quarterly Review, Third Coast, The MacGuffin, and many other important literary journals. She?s won the New York Open Voice Award, and co-edited the anthology Mona Poetica with Diane Shipley DeCillis. For the past 7 years Gillett has taught advanced poetry workshops for Springfed Arts-Metro Detroit Writers. Her first book, Soluble Fish,? won the Crab Orchard Series in Poetry First Book Award for 2007.

?

?

Dog and god, anger and angst, fat and thin and hair and skin, a discussion 

with Mary Jo Firth Gillett

-by Andrew McFadyen-Ketchum

?

?

Andrew McFadyen-Ketchum: ?Itch, Scratch,? like many of the poems in your book, Soluble Fish, is a poem that reaches for an understanding of human origin and, in a way, seeks to teach others in the various ways to look at how human history and world history intersect, converge, and diverge.

?

When I was a kid, my parents tacked a world map, an illustrated geological timeline, and a huge period table to the kitchen wall.? Reading this poem, it?s like looking back at that wall, fascinated by the history and makeup of our environment.? Is this what ?Itch, Scratch? attempts; not only teaching us a little bit about our species? timeline but also moving us into that timeline, ourselves a piece of the puzzle?

?

Mary Jo Firth Gillett:? Thanks for your interest in the poems in Soluble Fish, Andy, and for your questions.? I find it fascinating to hear what specific poems have had an impact on a reader and what questions have arisen from that reading. What a lucky child you were, to have a concept of the greater world even from your early years!? Although I have a wide range of interests which doubtless enter my poems, my intention in writing is to give and receive pleasure rather than to teach or edify.? That is, my poems arise primarily from a pleasure impulse, the great fun of wordplay, of exploring that aforementioned ?greater world,? of trying to make sense (often in a sensory manner as opposed to an intellectual one) of the crazy and conflicted world we live in. And although I?ve certainly written my share of poems grounded in interiority, the poems I enjoy most range widely, making great leaps and discoveries.

?

AMK: You say this poem is after Stephen Dunn.? I?m wondering which poem this plays off of.? 

?

MJFG: ?Itch, Scratch? owes an enormous debt to ?From Nowhere? (Local Visitations, Norton, ?03) by Stephen Dunn, a poet I admire tremendously.? 

?

AMK: I?d like to hear your thoughts on poems that ?bounce? off or are ?informed? by other poems.? Is this a matter of course?

?

MJFG: None of us writes in a vacuum.? I often read poetry before writing and revising my own work and quite often it seems there is something in what I read that is exactly what I need to spark a new poem or take an old one in interesting new directions.? I suppose it has something to do with receptivity and/or thin borders (solubility?), but there is also an eerie near magical sense when, without intent, it seems that I?m reading exactly what will feed my writing.? 

?

AMK: What do you do when you have a poem that is clearly influenced by another but isn?t overtly so?so that most readers wouldn?t notice.? Do you think that it?s your obligation to give this poet or poem the nod or does it depend on the degree of influence?? What?s your reaction when you read someone else?s work that is clearly influenced and, yet, this influence goes unacknowledged?

?

MJFG:? Hmmm.? These are good questions to which I have only poor answers.? Often we don?t recognize what our influences are and I have no problem with the fact of sensing unacknowledged debts to other poets in someone?s poem (I?m not talking about blatant plagiarism, of course).? The acknowledgments in my own poems? epigraphs often have to do with my gratitude to other poets whose work has made particular poems of mine possible.? Of course, I?m sure there are many influences I?m unaware of, but the acknowledgments of those I note is my way saying thank you.? I think of it more as courtesy and gratitude than obligation.

?

AMK: ?Itch, Scratch? is a poem of a single sentence. How does this poem keep itself together?? How is it organized?? How is it controlled?

?

MJFG:? ?Itch, Scratch? is a list poem heavily dependent on sound and momentum.? Of course, the role of repetition is obvious in moving the poem forward but also in terms of creating echoes within the poem, just as we are echoes of our evolutionary past.? I call this poem my description of mammalian evolution in 32 lines because I want to both point out the absurdity (I love absurdities!) in thinking we?ve done anything but scratch the surface in understanding our origins, and also to prepare the listener for what I hope is a basic tone of playfulness in the poem.? 

?

AMK: How did you come to this way of writing this poem?

?

MJFG:? Before I had any concept of how to use the wordplay, I?d been jotting down in my journal a series of sound connections:? dog and god, anger and angst, fat and thin and hair and skin, demigods and demitasse.? I was flying back from Boston, I think, when I read Dunn?s poem and suddenly felt I wanted to try a poem with a similar format addressing evolution.? Darwin has always fascinated me as do many elements of science.? The poem then was written mostly in one sitting.? Actually, I find flying to be very conducive to writing; being encapsulated away from the usual distractions is always helpful. 

?

AMK: I just love ?Dear Departed Reverend Grandfathers.?? I think it?s the lyrical quality of lines like ?dewy leaves that prism sunlight / into muted stained-glass Sundays I still carry?? that twist of syntax reflecting the twist of light through the prism? and ?palms proffering wine and wafer, mouths little Os / closing on metaphors?? the sounds within those lines, the layering of metaphor upon metaphor.? It?s just gorgeous.? It?s also different from the other poems in the book.

?

I?m wondering how this poem came to be, how it was shaped, and how it eventually became the poem it is today.

?

MJFG:? ?Dear Departed Reverend Grandfathers? is a poem no one would publish in a journal but I felt it was at the core of who I am and so I wanted to include it in both a chapbook, Tiger in a Hairnet, and now in this full-length collection.? I?m glad you like it. Both my grandfathers were Methodist ministers and three of my four uncles were ministers of various Protestant sects.? A bit of an epidemic.? Although I am not a religious person in the traditional sense, I am a spiritual person and I?m grateful for that early experience of the world of hymn and sermon.? I?m sure my poet?s ?ear? is indebted to that heritage.? 

?

AMK: The poem ends in a sequence of questions that operate, on one level, as an element of the search already present in the poem, and on another, almost as a challenge to the long held beliefs of the ?collection plate,? to the ?hands pantomimed.?

?

It would be interesting to hear your thoughts on the use of questions in poetry.? How is a question different from a statement when it is one of the primary roles of the reader to question that which is stated?

?

MJFG:? For me, the most enjoyable poems, those which reflect most accurately what it is to be human, do not embrace Knowing.? They have to do with not knowing, and they acknowledge that freely.? The certainty of faith, and the sometimes attendant judgments and condescension, always bothered me, even as a child.? I?m much more comfortable with acknowledging the unanswerable questions.? Still, one can long for simple answers, the simple faith of a child while simultaneously saying, that?s not where I am.? 

?

AMK: How do you think this poem fits in with the rest of the book?

?

MJFG:? I think that ?Dear Departed?? is grounded in sound, image, and metaphor and is pushed ahead by elements of list and momentum, which is true of some of the other poems in the collection.? It also has to do with erasing boundaries and embracing the fact that one is a part of the natural world, corporeal, an animal after all, despite our big brains, our repudiations, and the desire to distinguish ourselves from the natural world.

?

AMK: I?ve noticed lately that my favorite poems are those that merge the narrative and the lyrical.? The more I?ve thought about this, the more I come to this idea that a good poem is one that uses the narrative to ?fool? the reader into reading the lyrical.? Does this make sense to you?

?

MJFG:? Well, there are many ways to be lured into a poem.? Sometimes I?m drawn to sound first, sometimes it?s a story, and sometimes there are just amazing elements of metaphor or other outrageous leaps that thrill me.? I have to admit to being a metaphor junkie.

?

AMK: One aspect of your poetry that makes it such a pleasure to read is the rich use of reference to the natural and human realms.? Contemporary poetry operates on this ?local? level of allusion more than, I think, any other period in poetry.? What draws you to it so often?? What draws us to it?

?

MJFG:? Thank you.? I don?t know why I write as I do.? I suspect it has to do in part with the fact that I read widely and that I?m excited when unexpected, even odd elements from that reading enter the poems.? Also, I don?t see a dichotomy when I think of science and art.? The ?aha?s? of the poet and the epiphany of the scientist are very similar and so I feel no hesitancy about letting the world of science into my poems.

?

AMK: What are you reading right now?

?

MJFG:? I?m returning to Tony Hoagland?s Real Sofistikashun, and am delving into Joah Lehrer?s Proust was a Neuroscientist.? Also, Laura Kasischke?s Lilies Without, Richard Jackson?s Half Lives, E. O. Wilson?s The Creation, and Annie Finch?s The Body of Poetry.? You have, there at Southern Illinois University, a particularly fine poet in Rodney Jones, and I?ve just been revisiting his collection, Apocalyptic Narrative. He does it all.

?

AMK: Thank you.

?

MJFG:? A pleasure.








________________________________________________________________________
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From halvard at earthlink.net  Mon Feb 25 14:10:23 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Mon, 25 Feb 2008 13:10:23 -0600
Subject: [New-Poetry] Fwd: 2008 Ruth Lilly Poetry Fellowship Application
References: <20080225_183655_054571.info@poetryfoundation.org>
Message-ID: <0EA75273-EA39-41C1-B2B9-0B5FFAF74252@earthlink.net>

I find it difficult to believe that anyone under 31 would have
ten pages of poems, but, hey, one never knows.

Hal

"Information cannot argue with a closed mind."
           --Mike Nichols and Elaine May

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


Begin forwarded message:

> From: info at poetryfoundation.org
> Date: February 25, 2008 12:36:55 PM GMT-06:00
> To: halvard at earthlink.net
> Subject: 2008 Ruth Lilly Poetry Fellowship Application
>
>
> 2008 Ruth Lilly Poetry Fellowships
>
> Five Ruth Lilly Poetry Fellowships in the amount of $15,000 will be  
> awarded to young poets through a national competition sponsored by  
> the Poetry Foundation, publisher of Poetry. Established in 1989 by  
> the Indianapolis philanthropist Ruth Lilly, the fellowships are  
> intended to encourage the further study and writing of poetry.  
> Applicants must be U.S. citizens between the age of twenty-one and  
> thirty-one as of March 31, 2008.
>
> Applicants should submit:
> Completed application form
> Ten pages of poems, double spaced
> One paragraph explaining how the fellowship would aid the  
> applicant's work
> A publication list (optional)
>
> Do not include any additional material at this time (cv, cover  
> letter, references, etc.). If you wish to be notified of receipt of  
> your application, include a self-addressed, stamped postcard.  
> Application materials will not be returned. Applications must be  
> postmarked during the month of March 2008. Electronic submissions  
> will not be considered. Finalists will be announced on August 1,  
> 2008, at poetryfoundation.org. Winners will be announced by  
> September 1, 2008.
>
> DOWNLOAD 2008 RUTH LILLY FELLOWSHIP APPLICATION FORM HEREhttp://www.poetryfoundation.org/programs/prizes_fellowship.html
>
> About the Poetry Foundation
> The Poetry Foundation, publisher of Poetry magazine and one of the  
> largest literary organizations in the world, exists to discover and  
> celebrate the best poetry and to place it before the largest  
> possible audience. The Poetry Foundation seeks to be a leader in  
> shaping a receptive climate for poetry by developing new audiences,  
> creating new avenues for delivery, and encouraging new kinds of  
> poetry through innovative literary prizes and programs.
>
> For more information, please visit www.poetryfoundation.org.
>
>
>
> If you no longer wish to receive emails from the Poetry Foundation,  
> please visithttp://poetryfoundation.org/archive/unsubscribe.html

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From anny.ballardini at tin.it  Mon Feb 25 15:53:24 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 25 Feb 2008 21:53:24 +0100
Subject: [New-Poetry] Fwd: 2008 Ruth Lilly Poetry Fellowship Application
In-Reply-To: <0EA75273-EA39-41C1-B2B9-0B5FFAF74252@earthlink.net>
References: <20080225_183655_054571.info@poetryfoundation.org>
	<0EA75273-EA39-41C1-B2B9-0B5FFAF74252@earthlink.net>
Message-ID: <754FBB82F2544987AD4A32279D970484@AnnyPC>

as a matter of fact I feel a young poet, I've barely written ten double-spaced pages
  ----- Original Message ----- 
  From: Halvard Johnson 
  To: NewPoetry: &amp; Views 
  Sent: Monday, February 25, 2008 8:10 PM
  Subject: [New-Poetry] Fwd: 2008 Ruth Lilly Poetry Fellowship Application


  I find it difficult to believe that anyone under 31 would have
  ten pages of poems, but, hey, one never knows.


  Hal


  "Information cannot argue with a closed mind."
            --Mike Nichols and Elaine May


  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




  Begin forwarded message:


    From: info at poetryfoundation.org
    Date: February 25, 2008 12:36:55 PM GMT-06:00
    To: halvard at earthlink.net
    Subject: 2008 Ruth Lilly Poetry Fellowship Application



          2008 Ruth Lilly Poetry Fellowships 

          Five Ruth Lilly Poetry Fellowships in the amount of $15,000 will be awarded to young poets through a national competition sponsored by the Poetry Foundation, publisher of Poetry. Established in 1989 by the Indianapolis philanthropist Ruth Lilly, the fellowships are intended to encourage the further study and writing of poetry. Applicants must be U.S. citizens between the age of twenty-one and thirty-one as of March 31, 2008.

          Applicants should submit:

            a.. Completed application form
            b.. Ten pages of poems, double spaced
            c.. One paragraph explaining how the fellowship would aid the applicant's work
            d.. A publication list (optional)

          Do not include any additional material at this time (cv, cover letter, references, etc.). If you wish to be notified of receipt of your application, include a self-addressed, stamped postcard. Application materials will not be returned. Applications must be postmarked during the month of March 2008. Electronic submissions will not be considered. Finalists will be announced on August 1, 2008, at poetryfoundation.org. Winners will be announced by September 1, 2008.

          DOWNLOAD 2008 RUTH LILLY FELLOWSHIP APPLICATION FORM HEREhttp://www.poetryfoundation.org/programs/prizes_fellowship.html

          About the Poetry Foundation
          The Poetry Foundation, publisher of Poetry magazine and one of the largest literary organizations in the world, exists to discover and celebrate the best poetry and to place it before the largest possible audience. The Poetry Foundation seeks to be a leader in shaping a receptive climate for poetry by developing new audiences, creating new avenues for delivery, and encouraging new kinds of poetry through innovative literary prizes and programs.

          For more information, please visit www.poetryfoundation.org. 



         

          If you no longer wish to receive emails from the Poetry Foundation, please visithttp://poetryfoundation.org/archive/unsubscribe.html
         





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


  _______________________________________________
  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 david.weinstock at gmail.com  Mon Feb 25 16:10:10 2008
From: david.weinstock at gmail.com (David Weinstock)
Date: Mon, 25 Feb 2008 16:10:10 -0500
Subject: [New-Poetry] lurker alert
In-Reply-To: <47C302D4.3040907@noaa.gov>
References: <47C302D4.3040907@noaa.gov>
Message-ID: <437b1e3a0802251310u592b03c9qabb79971da2d2d48@mail.gmail.com>

Hi Peter. Speaking of lurkers, the latest surprise on Cafe Blue, where
Peter and Graham and I know each other, is that a fellow signed up and
lurked for SEVEN YEARS without uttering a peep.

David Weinstock
Not One to Not Peep
Middlebury VT


From jforjames at aol.com  Mon Feb 25 17:41:02 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 25 Feb 2008 17:41:02 -0500
Subject: [New-Poetry] WorldPo: Amal Dunqul, Egypt
Message-ID: <8CA4616A2815A1C-1EC-10D8@WEBMAIL-DF16.sysops.aol.com>


http://yementimes.com/article.shtml?i=1132&p=culture&a=2
Amal Dunqul, poet of the marginalized, oppressed and poor 
--------------------------------------------------------------------------------
Prepared by Eyad N. Al-Samman

?
?
Mohammed Amal Faheem Dunqul, known as Amal Dunqul, was an Egyptian poet and intellectual. He was born in 1940 in Al-Qala?a village, Qift district, located in Egypt?s Qina governorate.


Dunqul?s father named his first male child Amal, which means hope in Arabic, in the same year he received his teaching licensure from Egypt?s Al-Azhar University. Also a writer of classical poetry, he possessed a library filled with books ? of which his son took advantage ? in the various Islamic disciplines. He died when Dunqul was 10 years old and at such a young age, the son became responsible for his mother and two younger brothers.
?


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From jforjames at aol.com  Mon Feb 25 17:45:56 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 25 Feb 2008 17:45:56 -0500
Subject: [New-Poetry] like Frost unplugged
Message-ID: <8CA46175151AA38-1EC-1110@WEBMAIL-DF16.sysops.aol.com>


http://ap.google.com/article/ALeqM5jZ-AcZgwwYTSWP-vealmGeVPF1iQD8V0RT1O0

Frost's '47 Lecture Finally Gets Printed
By JOHN CURRAN ? 1 day ago 


HANOVER, N.H. (AP) ? Sixty years after New England poet Robert Frost sat down with Dartmouth 
College students for an off-the-record lecture, the four-time Pulitzer Prize winner's words to them are being published for the first time.


The transcript of the 1947 speech includes a candid question-and-answer session in which the poet suggests one way to take the world is "as a joke, take it humorously."


A transcript of the Oct. 23, 1947, speech ? one of dozens he gave at the college ? will be published 
later this month in the journal Literary Imagination. Transcripts of other lectures he gave at the Ivy League school in the 1940s, 1950s and 1960s are also headed for print, thanks to a former undergrad who came across recordings of the talks and found out they'd never been heard beyond the campus.


The transcripts may not rise to the level of a new discovered poem or manuscript in significance, but Frost lovers and scholars may learn a thing or two.


"It's like Frost unplugged," 


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.aol.com
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From Opus40-01 at opus40.org  Mon Feb 25 19:09:32 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Mon, 25 Feb 2008 19:09:32 -0500
Subject: [New-Poetry] lurker alert
In-Reply-To: <47C302D4.3040907@noaa.gov>
References: <47C302D4.3040907@noaa.gov>
Message-ID: <47C358BC.7050103@opus40.org>

I knew I was hearing voices. But now other people are hearing my voices?

Peter Munro wrote:
> Greetings,
>
> I have just subscribed to New-Poetry, following David Graham's generic 
> invitation on another list.
>
> I'll just sit in the background and listen, I think.  At least for 
> awhile.  But I thought it only fair to notify you that one more set of 
> ears is listening to your voices.
>
> Peter Munro
> _______________________________________________
> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From cervantes.james at gmail.com  Mon Feb 25 20:02:26 2008
From: cervantes.james at gmail.com (James Cervantes)
Date: Mon, 25 Feb 2008 18:02:26 -0700
Subject: [New-Poetry] lurker alert
In-Reply-To: <47C358BC.7050103@opus40.org>
References: <47C302D4.3040907@noaa.gov> <47C358BC.7050103@opus40.org>
Message-ID: <648208b60802251702i22687d04t7ddc3eacaea2939d@mail.gmail.com>

Ha!  Gotcha!  So you admit you have several voices?  Can we assume
those are also separate identities?

- I.N. Stile, M.D.

On 2/25/08, TheOldMole <Opus40-01 at opus40.org> wrote:
> I knew I was hearing voices. But now other people are hearing my voices?
>
>  Peter Munro wrote:
>  > Greetings,
>  >
>  > I have just subscribed to New-Poetry, following David Graham's generic
>  > invitation on another list.
>  >
>  > I'll just sit in the background and listen, I think.  At least for
>  > awhile.  But I thought it only fair to notify you that one more set of
>  > ears is listening to your voices.
>  >
>  > Peter Munro
>  > _______________________________________________
>  > 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/
>
>  The moral is this: in American verse,
>  The better you are, the pay is worse.
>   --Corey Ford
>
>  _______________________________________________
>  New-Poetry mailing list
>  New-Poetry at wiz.cath.vt.edu
>  http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>


From blacksox at att.net  Mon Feb 25 20:05:52 2008
From: blacksox at att.net (blacksox at att.net)
Date: Tue, 26 Feb 2008 01:05:52 +0000
Subject: [New-Poetry] What Is Left Out
Message-ID: <022620080105.14942.47C365F0000B49DB00003A5E22243322829B0A02D29B9B0EBF98019C050C0E040D@att.net>

I feel the critic contradicts himself on several occasions.
My take on this is, he has not made up his own mind about what to make of Bob Creeley's  poetry, and how that effected and influenced others.  

He states that all Bob's best poetry came early on with  'For Love' being the pinnacle. 
Then later on states: " It includes a number of moving later poems not included in the earlier volume, many on the subject of aging, most notably the poem ?When I  Think? from Creeley?s final collection, ?On Earth.?"

So he kind of likes the book, even recommends it to readers first coming to Creeley?

The 1990's Selected will always be among my favorite books. I consider it a concise portable Creeley. I don't think this new book will replace it. As a companion to it, I think its perfect.

Onward
Russ Golata 
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From barry.spacks at verizon.net  Mon Feb 25 20:30:04 2008
From: barry.spacks at verizon.net (Barry Spacks)
Date: Mon, 25 Feb 2008 17:30:04 -0800
Subject: [New-Poetry] Re: Peter Monroe
In-Reply-To: <200802251700.m1PH05cN007053@wiz.cath.vt.edu>
References: <200802251700.m1PH05cN007053@wiz.cath.vt.edu>
Message-ID: <0575C49E-0896-441A-A3E2-E0D54CB41620@verizon.net>


On Feb 25, 2008, at 9:00 AM, Peter Monroe.edu wrote:
>
> I have just subscribed to New-Poetry

Hey, Peter, encouraging to think of you out there,
welcome to a list that's sure to draw your strong voice.

Barry


From Opus40-01 at opus40.org  Mon Feb 25 21:55:21 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Mon, 25 Feb 2008 21:55:21 -0500
Subject: [New-Poetry] lurker alert
In-Reply-To: <648208b60802251702i22687d04t7ddc3eacaea2939d@mail.gmail.com>
References: <47C302D4.3040907@noaa.gov> <47C358BC.7050103@opus40.org>
	<648208b60802251702i22687d04t7ddc3eacaea2939d@mail.gmail.com>
Message-ID: <47C37F99.7040807@opus40.org>

It is making severe demands on the unity of the personality to try and 
make me identify myself with the author of the paper on the spinal 
ganglia of the Petromyzon. Nevertheless I must be he....

 

                                          --Sigmund Freud



James Cervantes wrote:
> Ha!  Gotcha!  So you admit you have several voices?  Can we assume
> those are also separate identities?
>
> - I.N. Stile, M.D.
>
> On 2/25/08, TheOldMole <Opus40-01 at opus40.org> wrote:
>   
>> I knew I was hearing voices. But now other people are hearing my voices?
>>
>>  Peter Munro wrote:
>>  > Greetings,
>>  >
>>  > I have just subscribed to New-Poetry, following David Graham's generic
>>  > invitation on another list.
>>  >
>>  > I'll just sit in the background and listen, I think.  At least for
>>  > awhile.  But I thought it only fair to notify you that one more set of
>>  > ears is listening to your voices.
>>  >
>>  > Peter Munro
>>  > _______________________________________________
>>  > 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/
>>
>>  The moral is this: in American verse,
>>  The better you are, the pay is worse.
>>   --Corey Ford
>>
>>  _______________________________________________
>>  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
>
>   

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

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From david.bircumshaw at ntlworld.com  Tue Feb 26 06:57:53 2008
From: david.bircumshaw at ntlworld.com (David Bircumshaw)
Date: Tue, 26 Feb 2008 11:57:53 +0000
Subject: [New-Poetry] An unlocked cabinet, perhaps?
In-Reply-To: <47C37F99.7040807@opus40.org>
References: <47C302D4.3040907@noaa.gov>
	<47C358BC.7050103@opus40.org>	<648208b60802251702i22687d04t7ddc3eacaea2939d@mail.gmail.com>
	<47C37F99.7040807@opus40.org>
Message-ID: <47C3FEC1.9010509@ntlworld.com>

In case it's of interest to anybody, just to say I've added a new 
e-publication, 'The Cabinet of Dr Spectare', to my website at 
http://homepage.ntlworld.com/david.bircumshaw/
Whether or not it's worth reading or not, the reader may judge, it costs 
but time. And electricity. And an internet connection.
It consists of a non-sequential short sequence of stand-alone poems 
written occasionally over a fourteen year period, some of which have 
appeared, sporadically, in publications you may know.
The name 'Spectare' was invented by me as a character in the one and 
only game of Dungeons and Dragons I have ever played, back in the early 
Eighties. Typically, the character was assassinated by the Dungeon 
master at the first available opportunity. As a potentially dangerous 
character. The experience has remained with me ever since.
To my delight, in recent years the name has been patented as a trademark 
in the United States, where it is a brand of electronic key, and in 
Germany where it is a form of commercial security software. There are 
also some dark mutterings in Norwegian which I can't understand.
The sequence can be read in any order, except that you have to enter via 
the rather gnomic title poem. I have left two deliberate errors in it, 
as I can't yet think of better words, and all unintended blemishes I own 
as entirely my own.

Best

Dave

-- 

David Bircumshaw
Website and A Chide's Alphabet http://homepage.ntlworld.com/david.bircumshaw/
The Animal Subsides http://www.arrowheadpress.co.uk/books/animal.html
Leicester Poetry Society: http://www.poetryleicester.co.uk



From grahamd at ripon.edu  Tue Feb 26 11:49:32 2008
From: grahamd at ripon.edu (David Graham)
Date: Tue, 26 Feb 2008 10:49:32 -0600
Subject: [New-Poetry] Poetry Library update
Message-ID: <A4E1F7A0-25D9-4473-8F19-E1DBF72935C9@ripon.edu>

I've been doing some substantial updating over at my online Poetry  
Library.  If you haven't been there, please stop by sometime (URL is  
with my signature below).

If you haven't visited in a while, much has changed.  I've been  
slowly clearing out the dead links and adding new ones.

Completely updated & enlarged as of today is the Essays page, for  
instance.  And the Blogs page is new since I moved off my old server.

As always, I'm delighted to hear suggestions for additions.   
Backchannel would be best.



========================================
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 grahamd at ripon.edu  Tue Feb 26 14:53:22 2008
From: grahamd at ripon.edu (David Graham)
Date: Tue, 26 Feb 2008 13:53:22 -0600
Subject: [New-Poetry] Fwd: James Tate Events Canceled
References: <1204053051.47c4643b3ef24@panthermail.uwm.edu>
Message-ID: <A5BDF406-5E86-4A9D-9A6F-526112C5DEC5@ripon.edu>

I just received the following bad news about James Tate from a friend  
in Milwaukee.  Thought that friends & fans of Tate would like to  
know.  I have no further details.


Begin forwarded message:
>
> Date: February 26, 2008 1:10:51 PM CST
> Subject: James Tate Events Canceled
>
>
> I have some sad news. James Tate, who was to read here on March  
> 6th, has been
> hospitalized with a stroke, so his appearance must be canceled. I hope
> everyone will send good thoughts his way.
>
>
========================================
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 alexdickow9 at yahoo.com  Tue Feb 26 14:58:46 2008
From: alexdickow9 at yahoo.com (Alexander Dickow)
Date: Tue, 26 Feb 2008 11:58:46 -0800 (PST)
Subject: [New-Poetry] forthcoming first book
In-Reply-To: <200802261700.m1QH05cO030885@wiz.cath.vt.edu>
Message-ID: <883105.3868.qm@web35502.mail.mud.yahoo.com>

Friends and fellow poets at NewPo,
I've been lurking lately, but I am very excited to
announce (officially) the forthcoming release of my
first book, _Caramboles_, due out in October 2008 from
Argol Editions (Paris). The book is a bilingual
collection, and you can read the French versions of
the book presentation and my bio here:

book:
http://www.argol-editions.fr/f/index.php?sp=liv&livre_id=33

bio:
http://www.argol-editions.fr/f/index.php?sp=livAut&auteur_id=83

You'll find the English version of the book
presentation (not quite as good as the French blurb,
I'm afraid) on my blog, here:
http://www.alexdickow.net/blog/article/110/announcing-caramboles-forthcoming-caramboles-a-paraitre

Finally, if you'd like to read a few recent poems, you
can try Sitaudis:

http://www.sitaudis.com/Poemes-et-fictions/deux-rencontres.php

Thanks for reading!
Amicalement,
Alex

www.alexdickow.net/blog/
   
  les mots! ah quel d?sert ? la fin
  merveilleux. -- Henri Droguet



From halvard at earthlink.net  Tue Feb 26 17:32:29 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Tue, 26 Feb 2008 16:32:29 -0600
Subject: [New-Poetry] Hamilton Stone Review, Issue 14, Winter 2008,
	Now Online!
Message-ID: <FF4FF2A0-085B-45FD-8796-B670B2801AF2@earthlink.net>

Hamilton Stone Review, Issue 14, Winter 2008, Now Online!

Featuring poetry by John M. Bennett, CL Bledsoe, Alex Cigale, Jamie  
Cooper, Burt
Kimmelman, Bobbie Lurie, Cheyenne Nimes, Laurie Price, David  
Thornbrugh, and
Georgios Tsangaris; plus a selection of work in fiction and poetry  
from upcoming books
from Hamilton Stone Editions by Rebecca Kavaler, Eva Kollisch, Jane  
Lazarre, and
Rochelle Ratner.

       http://www.hamiltonstone.org/hsr14.html

Submissions to the Hamilton Stone Review

We publish three times a year: in June, October, and February. Please  
send 1-7 poems
in the body of your message and/or in ONE attachment; one story or up  
to three short
shorts per message and/or attachment, please. Send bios with  
submissions. No snailmail
submissions will be read.

Poetry submissions should go directly to Halvard Johnson at halvard at earthlink.net 
.
Send fiction to Lynda Schor at lyndaschor at earthlink.net.

PLEASE SEND THIS ALONG TO OTHERS

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From atelierjewelweed at gmail.com  Tue Feb 26 21:51:26 2008
From: atelierjewelweed at gmail.com (Suzanne Burns)
Date: Tue, 26 Feb 2008 21:51:26 -0500
Subject: [New-Poetry] Fwd: James Tate Events Canceled
In-Reply-To: <A5BDF406-5E86-4A9D-9A6F-526112C5DEC5@ripon.edu>
References: <1204053051.47c4643b3ef24@panthermail.uwm.edu>
	<A5BDF406-5E86-4A9D-9A6F-526112C5DEC5@ripon.edu>
Message-ID: <bda48ea50802261851t562848e0o657793ae673d2553@mail.gmail.com>

Yikes.  He's only 65.  This is terrible.  I hope he recovers soon.  He
is in my thoughts and prayers.

Suzanne


On 2/26/08, David Graham <grahamd at ripon.edu> wrote:
> I just received the following bad news about James Tate from a friend
> in Milwaukee. Thought that friends & fans of Tate would like to
> know. I have no further details.
>
>
> Begin forwarded message:
> >
> > Date: February 26, 2008 1:10:51 PM CST
> > Subject: James Tate Events Canceled
> >
> >
> > I have some sad news. James Tate, who was to read here on March
> > 6th, has been
> > hospitalized with a stroke, so his appearance must be canceled. I hope
> > everyone will send good thoughts his way.
> >
> >
> ========================================
> 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 grahamd at ripon.edu  Wed Feb 27 10:17:08 2008
From: grahamd at ripon.edu (David Graham)
Date: Wed, 27 Feb 2008 09:17:08 -0600
Subject: [New-Poetry] Poetry Library update & queries
In-Reply-To: <A4E1F7A0-25D9-4473-8F19-E1DBF72935C9@ripon.edu>
References: <A4E1F7A0-25D9-4473-8F19-E1DBF72935C9@ripon.edu>
Message-ID: <538A1856-8AED-4B19-84DA-0A90D5F95FC0@ripon.edu>

Thanks to all who have backchanneled suggestions & corrections for my  
Poetry Library.  Just a brief update on my update.

I'm aware that there are still a lot of dead links on my Poets page,  
so no need to point them out individually.  Many of them died when  
the Academy of American Poets altered *all* their links.  Stay  
tuned:  I'm slowly revising them.  (I'm woefully behind in updating  
the Poetry Presses page, also.)

As of yesterday, though, I believe all the links are good on the  
following pages:  Blogs, Essays, Journals, Links, Books, and Craft  
Toolbox.  I've also added a Listserv page, and additions to that  
would be eagerly accepted.

Quite a few new items scattered about on all these pages, so feel  
free to surf around.  A number of new blogs, online journals, etc.   
You'll recognize many familiar names, as it happens, from this very  
list.

I'm always on the lookout for material.  As far as home pages go, let  
me know if you've got one that I haven't found.  One caution:  I'm  
generally interested in those that have a lot of poems & other  
material available online, rather than those sites that are  
essentially advertisements for purchasing printed books and journals.

With blogs, I try to include mainly those in which the poetry  
discussion outweighs the what-I-had-for-breakfast stuff.  But, like  
you, I sometime contradict myself. . . .


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

Home Page:
http://web.mac.com/drjazz

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




On Feb 26, 2008, at 10:49 AM, David Graham wrote:

> I've been doing some substantial updating over at my online Poetry  
> Library.  If you haven't been there, please stop by sometime (URL  
> is with my signature below).
>
> If you haven't visited in a while, much has changed.  I've been  
> slowly clearing out the dead links and adding new ones.
>
> Completely updated & enlarged as of today is the Essays page, for  
> instance.  And the Blogs page is new since I moved off my old server.
>
> As always, I'm delighted to hear suggestions for additions.   
> Backchannel would be best.
>
>
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From lsgrimes at stonegulch.com  Wed Feb 27 11:11:14 2008
From: lsgrimes at stonegulch.com (Linda Sue Grimes)
Date: Wed, 27 Feb 2008 10:11:14 -0600
Subject: [New-Poetry] Identifying a passage
References: <A4E1F7A0-25D9-4473-8F19-E1DBF72935C9@ripon.edu>
	<538A1856-8AED-4B19-84DA-0A90D5F95FC0@ripon.edu>
Message-ID: <001501c8795b$60cd6f00$0201a8c0@LindaSue>

Anyone recognize this:


So whether the storm king whitens its shoals
Or whether by soft wind fanned
I love the sound of the sea as it rolls
In the hollow of God's hand
For I was born within the sound of its waves
And it ever shall be to me
The song of all songs that I love the best
The roar of the grey old sea
The laugh of the summer sea



Thanks in advance,
lsg
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From skip at louisiana.edu  Wed Feb 27 16:30:40 2008
From: skip at louisiana.edu (Skip Fox)
Date: Wed, 27 Feb 2008 15:30:40 -0600
Subject: [New-Poetry] Identifying a passage
In-Reply-To: <001501c8795b$60cd6f00$0201a8c0@LindaSue>
Message-ID: <000501c87988$06461af0$f4954682@win.louisiana.edu>

The Storm King by Frederick Griffin, 1872??

 

http://books.google.com/books?hl=en
<http://books.google.com/books?hl=en&id=OXICAAAAQAAJ&dq=%22storm+king%22+poe
m&printsec=frontcover&source=web&ots=hpNpJ2hm4g&sig=drSlKKvVHJ1PlxNH6dK7d3A8
5p0#PPP5,M1>
&id=OXICAAAAQAAJ&dq=%22storm+king%22+poem&printsec=frontcover&source=web&ots
=hpNpJ2hm4g&sig=drSlKKvVHJ1PlxNH6dK7d3A85p0#PPP5,M1

 

 

 

-----Original Message-----
From: new-poetry-bounces at wiz.cath.vt.edu
[mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of Linda Sue Grimes
Sent: Wednesday, February 27, 2008 10:11 AM
To: NewPoetry: Contemporary Poetry News &amp;Views
Subject: [New-Poetry] Identifying a passage

 

Anyone recognize this:

 

 

So whether the storm king whitens its shoals
Or whether by soft wind fanned
I love the sound of the sea as it rolls
In the hollow of God's hand
For I was born within the sound of its waves
And it ever shall be to me
The song of all songs that I love the best
The roar of the grey old sea
The laugh of the summer sea

 

 

 

Thanks in advance,

lsg

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From jforjames at aol.com  Wed Feb 27 17:03:21 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 27 Feb 2008 17:03:21 -0500
Subject: [New-Poetry] Identifying a passage
In-Reply-To: <000501c87988$06461af0$f4954682@win.louisiana.edu>
Message-ID: <8CA47A3B34FF889-280-1080@webmailbeta-m07.sysops.aol.com>


Speaking of Storm King,

If you like outdoor sculpture, this is good day-trip, especially in you live near the lower Hudson valley...
http://www.stormking.org/

Finnegan

-----Original Message-----
From: Skip Fox <skip at louisiana.edu>
Sent: Wed, 27 Feb 2008 4:30 pm
Subject: RE: [New-Poetry] Identifying a passage





The Storm King by Frederick Griffin, 1872??

?

http://books.google.com/books?hl=en&id=OXICAAAAQAAJ&dq=%22storm+king%22+poem&printsec=frontcover&source=web&ots=hpNpJ2hm4g&sig=drSlKKvVHJ1PlxNH6dK7d3A85p0#PPP5,M1

?

?

?

-----Original Message-----
From: new-poetry-bounces at wiz.cath.vt.edu [mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of Linda Sue Grimes
Sent: Wednesday, February 27, 2008 10:11 AM
To: NewPoetry: Contemporary Poetry News &amp;Views
Subject: [New-Poetry] Identifying a passage

?


Anyone recognize this:



?



?



So whether the storm king whitens its shoals
Or whether by soft wind fanned
I love the sound of the sea as it rolls
In the hollow of God's hand
For I was born within the sound of its waves
And it ever shall be to me
The song of all songs that I love the best
The roar of the grey old sea
The laugh of the summer sea



?



?



?



Thanks in advance,



lsg





_______________________________________________
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  Wed Feb 27 17:09:23 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 27 Feb 2008 17:09:23 -0500
Subject: [New-Poetry] Robert Bly: MN's Poet Laureate 
Message-ID: <8CA47A48B067B6D-280-10C5@webmailbeta-m07.sysops.aol.com>


Pawlenty names Robert Bly as Minnesota's first poet laureate
?
?

Associated Press - February 27, 2008 2:44 PM ET 

ST. PAUL (AP) - Governor Tim Pawlenty has named Robert Bly as Minnesota's first poet laureate.

Pawlenty calls Bly "a Minnesota treasure."


Bly lives in Minneapolis. He's the author of more than 30 books of poetry. He also translated Henrik Ibsen's classic play "Peer Gynt," which is now showing at the Guthrie Theater in Minneapolis.

Minnesota's poet laureate may promote the reading and writing of poetry, preside over poetry awards and contests, and write poetry or select poets to compose works for significant state occasions.


Bly says Minnesota has a wonderful literary history, so it's a great honor to be selected.

The Legislature created the honorary position last year.



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From jforjames at aol.com  Wed Feb 27 17:50:26 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 27 Feb 2008 17:50:26 -0500
Subject: [New-Poetry] Anxiety of Influence
Message-ID: <8CA47AA4762C02D-280-12E6@webmailbeta-m07.sysops.aol.com>


Or confessions of an unintentional plagiarist?

?

Don?t you hate when this happens: Last week I ran across this poem. Nothing in the first couple stanzas struck me, but coming upon the third I immediately thought of a poem I?d written a few years ago called ?Jamestown? (about that?early American?settlement). Now I haven?t yet gone back to look carefully at my poem, but the sound of axes is, as I remember it, a very important image in my poem. Further,?the concluding image of my poem had something do with ?graves/dead bodies?colonizing the earth? or something along those lines.

?

Possibilities?

1) I heard Louis Simpson read some years ago and he perhaps read this poem, and, though no images were remembered per se from that reading, somehow these images welled up in memory while I was writing the poem and thus arose unconsciously out of that first hearing.

2) Or I read this poem sometime before my poem was first drafted, with similar results as suggested in #1. 

3) A complete coincidence. Randomly images intersect all the time out there in the universe of poems.

4) Poems about The Colonies often say these kinds of things about axes and graves and such.

5) Many poetry geniuses share the same sources and imagery.

?
For now I'm going with #5.

Finnegan

--
To the Western World

?


A siren sang, and Europe turned away 
>From the high castle and the shepherd?s crook. 
Three caravels went sailing to Cathay 
On the strange ocean, and the captains shook 
Their banners out across the Mexique Bay. 


And in our early days we did the same. 
Remembering our fathers in their wreck 
We crossed the sea from Palos where they came 
And saw, enormous to the little deck, 
A shore in silence waiting for a name. 


The treasures of Cathay were never found. 
In this America, this wilderness 
Where the axe echoes with a lonely sound, 
The generations labor to possess 
And grave by grave we civilize the ground.


--Louis Simpson, ?To the Western World? from The Owner of the House: New Collected Poems 1940-2001. Copyright ? 2003 by Louis Simpson. Reprinted with the permission of BOA Editions, Ltd.,
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From jforjames at aol.com  Wed Feb 27 18:43:37 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 27 Feb 2008 18:43:37 -0500
Subject: [New-Poetry] Sassoon
Message-ID: <8CA47B1B5700AA3-548-1643@webmail-stg-d05.sysops.aol.com>


http://www.thestatesman.net/page.news.php?clid=18&theme=&usrsess=1&id=192893

MEMOIRS OF A WAR POET

Siegfried Sassoon


? The anguish of the earth absolves our eyes,
Till beauty shines in all that we can see
War is our scourge; yet war has made us wise,
And, fighting for our freedom, we are free.?


With war on the horizon, a young Englishman whose life has heretofore been consumed with the protocol of fox-hunting came to be known to the world as Siegfried Sassoon. The most innocent of the war poets 

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From Opus40-01 at opus40.org  Thu Feb 28 00:19:25 2008
From: Opus40-01 at opus40.org (TheOldMole)
Date: Thu, 28 Feb 2008 00:19:25 -0500
Subject: [New-Poetry] Identifying a passage
In-Reply-To: <8CA47A3B34FF889-280-1080@webmailbeta-m07.sysops.aol.com>
References: <8CA47A3B34FF889-280-1080@webmailbeta-m07.sysops.aol.com>
Message-ID: <47C6445D.2080207@opus40.org>

And you can do Opus 40 on the same day trip.

jforjames at aol.com wrote:
> Speaking of Storm King,
> If you like outdoor sculpture, this is good day-trip, especially in 
> you live near the lower Hudson valley...
> http://www.stormking.org/
>
> Finnegan
>
> -----Original Message-----
> From: Skip Fox <skip at louisiana.edu>
> Sent: Wed, 27 Feb 2008 4:30 pm
> Subject: RE: [New-Poetry] Identifying a passage
>
> The Storm King by Frederick Griffin, 1872??
>  
> http://books.google.com/books?hl=en&id=OXICAAAAQAAJ&dq=%22storm+king%22+poem&printsec=frontcover&source=web&ots=hpNpJ2hm4g&sig=drSlKKvVHJ1PlxNH6dK7d3A85p0#PPP5,M1 
> <http://books.google.com/books?hl=en&id=OXICAAAAQAAJ&dq=%22storm+king%22+poem&printsec=frontcover&source=web&ots=hpNpJ2hm4g&sig=drSlKKvVHJ1PlxNH6dK7d3A85p0#PPP5,M1>
>  
>  
>  
> -----Original Message-----
> *From:* new-poetry-bounces at wiz.cath.vt.edu 
> <mailto:new-poetry-bounces at wiz.cath.vt.edu> 
> [mailto:new-poetry-bounces at wiz.cath.vt.edu 
> <mailto:new-poetry-bounces at wiz.cath.vt.edu?>] *On Behalf Of *Linda Sue 
> Grimes
> *Sent:* Wednesday, February 27, 2008 10:11 AM
> *To:* NewPoetry: Contemporary Poetry News &amp;Views
> *Subject:* [New-Poetry] Identifying a passage
>  
> Anyone recognize this:
>  
>  
> So whether the storm king whitens its shoals
> Or whether by soft wind fanned
> I love the sound of the sea as it rolls
> In the hollow of God's hand
> For I was born within the sound of its waves
> And it ever shall be to me
> The song of all songs that I love the best
> The roar of the grey old sea
> The laugh of the summer sea
>  
>  
>  
> Thanks in advance,
> lsg
> _______________________________________________
> 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
> ------------------------------------------------------------------------
> Supercharge your AIM. Get the AIM toolbar 
> <http://download.aim.com/client/aimtoolbar?NCID=aolcmp00300000002586> 
> for your browser.
> ------------------------------------------------------------------------
>
> _______________________________________________
> 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/

The moral is this: in American verse,
The better you are, the pay is worse.
  --Corey Ford



From Rsgwynn1 at cs.com  Thu Feb 28 00:33:37 2008
From: Rsgwynn1 at cs.com (Rsgwynn1 at cs.com)
Date: Thu, 28 Feb 2008 00:33:37 EST
Subject: [New-Poetry] Sassoon
Message-ID: <cce.27285116.34f7a1b1@cs.com>

I'm always pleased to see recognition of Sassoon, a wonderful poet who is 
often forgotten these days.  But he was no wide-eyed innocent in one respect: his 
poetic master was Hardy.  He came to the front with his irony ready to put to 
use.

Paul Fussell once edited together a selection of Sassoon's poetry and prose 
about the war called Siegfried Sassoon's Long Journey.  It is very hard to find 
nowadays but worth looking at.

The film Behind the Lines, which was based on Pat Barker's Booker-winning 
novel Regeneration is now available in the US on dvd and vhs.  It focuses on the 
friendship of Sassoon and Owen at the Craiglockhart Hospital.   
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From amyhappens at yahoo.com  Thu Feb 28 12:29:07 2008
From: amyhappens at yahoo.com (amy king)
Date: Thu, 28 Feb 2008 09:29:07 -0800 (PST)
Subject: [New-Poetry] Talking Points -- SHOCKLEY and FOSTER
Message-ID: <134137.38818.qm@web83308.mail.sp1.yahoo.com>

Evie Shockley and Tonya Foster discuss Juliana Spahr's and Stephenie Young's Chicago Review essay, "Numbers Trouble," at Delirious Hem
[http://delirioushem.blogspot.com/2008/02/dim-sum-tonya-foster-evie-shockley.html ] --- 

Excerpts:

?I am arguing that avant-garde poetics need not be defined in
opposition to either a discernable engagement with politics in the work
or an interest in audience(s). Where did this avant-garde
poetry/political poetry divide come from anyway? What motivated the
surrealists? What motivated Dada? The high modernists? The Beats? The
Language poets? Or should I be asking what distinguishes these
politically motivated aesthetic movements from the New Negro
Renaissance, the Black Arts Movement, the Nuyorican arts movement? And
how does the most obvious answer to this last question relate to the
notion of ?a more radical feminism? and the intervention it could make
in the world (of poetry)?

 

?.I love Retallack?s concept of ?pragmatically hybrid poetry
communities? both because it seems grounded in immediate action and
because it suggests the importance of seeking and forming alliances
that don?t rely upon a mandated (false) unity around every possible
issue of politics and aesthetics that might be raised.

 

?Can we accept and act on the idea that ?transform[ing] the
circumstances or conditions of others? may deeply involve transforming
who we are and how we occupy the world (of poetry)?

---From ?Dim Sum: Tonya Foster & Evie Shockley ? Braiding:
ConVERSations: To, Against, For?


[ http://delirioushem.blogspot.com/2008/02/dim-sum-tonya-foster-evie-shockley.html ]  
_______ 
 
Blog
 
http://www.amyking.org/blog
 
Faculty Page
 
http://faculty2.ncc.edu/kinga






      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs
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From anny.ballardini at tin.it  Thu Feb 28 13:39:18 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 28 Feb 2008 19:39:18 +0100
Subject: [New-Poetry] Talking Points -- SHOCKLEY and FOSTER
In-Reply-To: <134137.38818.qm@web83308.mail.sp1.yahoo.com>
References: <134137.38818.qm@web83308.mail.sp1.yahoo.com>
Message-ID: <5E6780A6BB9B4225999C8B21A86E5CA5@AnnyPC>

for those who cannot attend it would be interesting to listen to a recording or find a page with some excerpts or the same papers, thanks!
  From: amy king 
  Sent: Thursday, February 28, 2008 6:29 PM


  Evie Shockley and Tonya Foster discuss Juliana Spahr's and Stephenie Young's Chicago Review essay, "Numbers Trouble," at Delirious Hem
  [http://delirioushem.blogspot.com/2008/02/dim-sum-tonya-foster-evie-shockley.html ] --- 

  Excerpts:

  ?I am arguing that avant-garde poetics need not be defined in opposition to either a discernable engagement with politics in the work or an interest in audience(s). Where did this avant-garde poetry/political poetry divide come from anyway? What motivated the surrealists? What motivated Dada? The high modernists? The Beats? The Language poets? Or should I be asking what distinguishes these politically motivated aesthetic movements from the New Negro Renaissance, the Black Arts Movement, the Nuyorican arts movement? And how does the most obvious answer to this last question relate to the notion of ?a more radical feminism? and the intervention it could make in the world (of poetry)?



  ?.I love Retallack?s concept of ?pragmatically hybrid poetry communities? both because it seems grounded in immediate action and because it suggests the importance of seeking and forming alliances that don?t rely upon a mandated (false) unity around every possible issue of politics and aesthetics that might be raised.
   
  ?Can we accept and act on the idea that ?transform[ing] the circumstances or conditions of others? may deeply involve transforming who we are and how we occupy the world (of poetry)?

  ---From ?Dim Sum: Tonya Foster & Evie Shockley ? Braiding: ConVERSations: To, Against, For? 
  [ http://delirioushem.blogspot.com/2008/02/dim-sum-tonya-foster-evie-shockley.html ] 

  _______


  Blog

  http://www.amyking.org/blog

  Faculty Page

  http://faculty2.ncc.edu/kinga





------------------------------------------------------------------------------
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From alexdickow9 at yahoo.com  Thu Feb 28 14:19:43 2008
From: alexdickow9 at yahoo.com (Alexander Dickow)
Date: Thu, 28 Feb 2008 11:19:43 -0800 (PST)
Subject: [New-Poetry] Anxiety of Influence
In-Reply-To: <200802281700.m1SH05cO012848@wiz.cath.vt.edu>
Message-ID: <548279.5887.qm@web35508.mail.mud.yahoo.com>

Jim,
I think influences tend to be post-facto. So much so,
in fact, that I've taken to indicating intertexts for
certain poems -- intertexts I invariably first
discovered *after* I wrote the poems. The other kinds
of influence -- ie, the poets central to the
development of my sensibility -- tend to be figures
with radically different esthetics than my own (and
not simply a reverse-image or inversion of my poetics:
not a simple matter of killing Dad, as far as I can
tell). The figures I'm most consistently compared to
-- Lewis Carroll, EE Cummings, Joyce -- are authors
with whose work I'm terribly unfamiliar.
All of these factors, to my mind, make the notion of
influence little better than a phantom. 
Amicalement,
Alex

www.alexdickow.net/blog/
   
  les mots! ah quel d?sert ? la fin
  merveilleux. -- Henri Droguet



From ccooley at overdomain.com  Thu Feb 28 14:10:34 2008
From: ccooley at overdomain.com (Crisman Cooley)
Date: Thu, 28 Feb 2008 13:10:34 -0600
Subject: [New-Poetry] Re: Anxiety of Influence / Confessions of an Un...
	Plagiarist
In-Reply-To: <200802281700.m1SH05cO012848@wiz.cath.vt.edu>
References: <200802281700.m1SH05cO012848@wiz.cath.vt.edu>
Message-ID: <DE60C01B-4CD9-47B3-98E6-9A2560FD5B36@overdomain.com>

Your poem-- I mean Louis Simpson's poem "To the Western World" is  
really quite beautiful and interesting to me.  "...grave by grave we  
civilize the ground" is an amazing line.   I have only read his  
translations of French poets.  Some I think are pretty good (Mallarme  
comes to mind).  Some, I think, can be improved upon.

If anyone is interested, I'll post one of Simpson's translations, the  
original poem in French and my translation of the same.  It may be  
obvious, but I won't tell which is which and you say which is which  
and which you like best and why.

But only if you ask for it.  Because I am not in the mood for speaking  
to a void.  [this may someday be the meaning of the verb "to  
blog"...  ;]


> From: jforjames at aol.com
> Subject: [New-Poetry] Anxiety of Influence
>
>
> Or confessions of an unintentional plagiarist???
>
> ?
>
> Don???t you hate when this happens: Last week I ran across this  
> poem. Nothing in the first couple stanzas struck me, but coming upon  
> the third I immediately thought of a poem I???d written a few years  
> ago called ???Jamestown??? (about that? early American? settlement).  
> Now I haven???t yet gone back to look carefully at my poem, but the  
> sound of axes is, as I remember it, a very important image in my  
> poem. Further,? the concluding image of my poem had something do  
> with ???graves/dead bodies? colonizing the earth??? or something  
> along those lines.
>
> ?
>
> Possibilities???
>
> 1) I heard Louis Simpson read some years ago and he perhaps read  
> this poem, and, though no images were remembered per se from that  
> reading, somehow these images welled up in memory while I was  
> writing the poem and thus arose unconsciously out of that first  
> hearing.
>
> 2) Or I read this poem sometime before my poem was first drafted,  
> with similar results as suggested in #1.
>
> 3) A complete coincidence. Randomly images intersect all the time  
> out there in the universe of poems.
>
> 4) Poems about The Colonies often say these kinds of things about  
> axes and graves and such.
>
> 5) Many poetry geniuses share the same sources and imagery.
>
> ?
> For now I'm going with #5.
>
> Finnegan
>
> --
> To the Western World
>
> ?
>
>
> A siren sang, and Europe turned away
>> From the high castle and the shepherd???s crook.
> Three caravels went sailing to Cathay
> On the strange ocean, and the captains shook
> Their banners out across the Mexique Bay.
>
>
> And in our early days we did the same.
> Remembering our fathers in their wreck
> We crossed the sea from Palos where they came
> And saw, enormous to the little deck,
> A shore in silence waiting for a name.
>
>
> The treasures of Cathay were never found.
> In this America, this wilderness
> Where the axe echoes with a lonely sound,
> The generations labor to possess
> And grave by grave we civilize the ground.
>
>
> --Louis Simpson, ???To the Western World??? from The Owner of the  
> House: New Collected Poems 1940-2001. Copyright ?? 2003 by Louis  
> Simpson. Reprinted with the permission of BOA Editions, Ltd.,



From pmetres at jcu.edu  Thu Feb 28 14:32:40 2008
From: pmetres at jcu.edu (Philip Metres)
Date: Thu, 28 Feb 2008 14:32:40 -0500 (EST)
Subject: [New-Poetry] new on BehindtheLinesPoetry.blogspot.com
Message-ID: <20080228143240.BHO81949@mirapoint.jcu.edu>

Look, I know that the blogosphere is saturated, your brain-time tapped out, but if any of this interests you, go ahead and read it.  You'll notice that I've been doing a bunch of poetry book reviews.  If you send me a copy, I'll certainly read it, and there's a solid chance I could review it.  Call it a bit of poetic service. 

Here's the latest from http://behindthelinespoetry.blogspot.com 

"From Reznikoff to Public Enemy"/A Poetry Foundation Podcast 
Simone Muench's Lampblack & Ash/Anti-Valentines for Desnos 
Jenny Holzer's "Projections" 
Yes, Israeli-Palestinian Comedy 
Frederick Seidel, John Berryman, & the Poetics of Self-Shadenfreude 
Mark Pawlak's Official Versions 
Anyone Who Wears Other Nations' Dress Can Be My Prez 
Phil Ochs' "I Ain't Marching Anymore" & Banana Politics 
R.E.M.'s "Talk about the Passion" 
James Bishop's "Basic Training"/What it Looks Like... 
R.E.M.'s "World Leader Pretend" 
Husker Du's "Divide and Conquer" 
"To See the Earth" 
"The Empire in the Air" by Kevin Prufer 
Meet the New Boss, Same as the Old Boss 
Saw Wai's Poetic Valentine Was a Slap in the Face to His Dear Leader 
Suheir Hammad on Resisting the War 
William Stafford & the Field Where the Battle Did Not Take Place 
Arab American Writing and War, the AWP panel 2008 
"Gitmo" and American Pop Culture 
"Books That Will Change the World" by Rebecca Solnit 
Barack Obama and Hope 
Mark Halperin's Falling Through the Music 
"Secrets and Lies"/The Poetry Reading 
Tony Tost's "World Jelly"/Guided by Guided by Voices 
Ralph DiGia, Thank You and Peace 
"The Strangulation of Gaza" article in The Nation 
The Famous Meta-Free-Phor-All on the Colbert Report 


Philip Metres
Associate Professor
Department of English
John Carroll University
20700 N. Park Blvd
University Heights, OH 44118
phone: (216) 397-4528 (work)
fax: (216) 397-1723
http://www.philipmetres.com
http://www.behindthelinespoetry.blogspot.com


From ccooley at overdomain.com  Thu Feb 28 15:08:24 2008
From: ccooley at overdomain.com (Crisman Cooley)
Date: Thu, 28 Feb 2008 14:08:24 -0600
Subject: [New-Poetry] Re: Anxiety of Influence / Confessions of an Un...
	Plagiarist
In-Reply-To: <200802281700.m1SH05cO012848@wiz.cath.vt.edu>
References: <200802281700.m1SH05cO012848@wiz.cath.vt.edu>
Message-ID: <5A93CEEA-DD1A-49A5-807A-1AAF850C3673@overdomain.com>

JforJames, can you post your original 'unintentional plagiarism'?  I'd  
be interested to read it.

This Louis Simpson poem "To the Western World" is really quite  
beautiful and interesting to me.  I know it's old fashioned, but:   
"...grave by grave we civilize the ground" is an amazing line.   I  
have only read his translations of "modern" French poets.  Some I  
think are pretty good (Mallarme comes to mind).  Some, I think, can be  
improved upon.

If anyone is interested, respond to this msg and I'll post one of  
Simpson's translations, the original poem in French and my translation  
of the same.  It may be obvious, but I won't tell which is which and  
you guess which is which and which you like best and why.  That could  
be a bit of fun.


> From: jforjames at aol.com
> Subject: [New-Poetry] Anxiety of Influence
>
>
> Or confessions of an unintentional plagiarist???
>
> ?
>
> Don???t you hate when this happens: Last week I ran across this  
> poem. Nothing in the first couple stanzas struck me, but coming upon  
> the third I immediately thought of a poem I???d written a few  
> years ago called ???Jamestown??? (about that? early  
> American? settlement). Now I haven???t yet gone back to look  
> carefully at my poem, but the sound of axes is, as I remember it, a  
> very important image in my poem. Further,? the concluding image of  
> my poem had something do with ???graves/dead bodies? colonizing  
> the earth??? or something along those lines.
>
> ?
>
> Possibilities???
>
> 1) I heard Louis Simpson read some years ago and he perhaps read  
> this poem, and, though no images were remembered per se from that  
> reading, somehow these images welled up in memory while I was  
> writing the poem and thus arose unconsciously out of that first  
> hearing.
>
> 2) Or I read this poem sometime before my poem was first drafted,  
> with similar results as suggested in #1.
>
> 3) A complete coincidence. Randomly images intersect all the time  
> out there in the universe of poems.
>
> 4) Poems about The Colonies often say these kinds of things about  
> axes and graves and such.
>
> 5) Many poetry geniuses share the same sources and imagery.
>
> ?
> For now I'm going with #5.
>
> Finnegan
>
> --
> To the Western World
>
> ?
>
>
> A siren sang, and Europe turned away
>> From the high castle and the shepherd???s crook.
> Three caravels went sailing to Cathay
> On the strange ocean, and the captains shook
> Their banners out across the Mexique Bay.
>
>
> And in our early days we did the same.
> Remembering our fathers in their wreck
> We crossed the sea from Palos where they came
> And saw, enormous to the little deck,
> A shore in silence waiting for a name.
>
>
> The treasures of Cathay were never found.
> In this America, this wilderness
> Where the axe echoes with a lonely sound,
> The generations labor to possess
> And grave by grave we civilize the ground.
>
>
> --Louis Simpson, ???To the Western World??? from The Owner of  
> the House: New Collected Poems 1940-2001. Copyright ?? 2003 by  
> Louis Simpson. Reprinted with the permission of BOA Editions, Ltd.,



From jforjames at aol.com  Thu Feb 28 20:19:19 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 28 Feb 2008 20:19:19 -0500
Subject: [New-Poetry] Elizabeth Bishop, Library of America
Message-ID: <8CA48883E6970B3-28C-1351@webmail-stg-d07.sysops.aol.com>

http://www.pbs.org/newshour/bb/entertainment/jan-june08/bishop_02-14.html

Elizabeth Bishop's Writings Honored by Library of America? 
?
The Library of America is publishing the collected works and letters of celebrated poet Elizabeth Bishop -- marking the first time it has done so for a woman poet. Two of Bishop's friends discuss and read her work. 


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From JforJames at aol.com  Thu Feb 28 21:04:30 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Thu, 28 Feb 2008 21:04:30 EST
Subject: [New-Poetry] Re: Anxiety of Influence / Confessions of an Un...
	Plagiarist
Message-ID: <c39.270c5daa.34f8c22e@aol.com>

 
In a message dated 2/28/2008 2:22:37 PM Eastern Standard Time,  
ccooley at overdomain.com writes:

If  anyone is interested, I'll post one of Simpson's translations, the   
original poem in French and my translation of the  same.


Crisman, I think you should post one (or more). I'd like to see them. 
Alex I'm sure would be interested, too.
Finnegan



**************Ideas to please picky eaters. Watch video on AOL Living.      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)
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From JforJames at aol.com  Thu Feb 28 21:15:10 2008
From: JforJames at aol.com (JforJames at aol.com)
Date: Thu, 28 Feb 2008 21:15:10 EST
Subject: [New-Poetry] Re: Anxiety of Influence / Confessions of an Un...
	Plagiarist
Message-ID: <ca0.272be4e8.34f8c4ae@aol.com>

In a message dated 2/28/2008 3:09:00 PM Eastern Standard Time,  
ccooley at overdomain.com writes:
JforJames, can you post your original 'unintentional  plagiarism'?

--
Caveat: poem plucked from hard drive, the file says it was last modified  
4-29-2001, older than I thought. Geez, I'm lazy.
 
 
Jamestown
 
 
In 1607 they first tried to settle on your shores, 
within you. The  merchant vessels holding
at anchor, while the long boats let down
into  waves, rowing through surf and beaching.
 
A cross like a dagger established among the dunes.
The axes, the axes  smacking the huge boles. 
The trees giving way, snapping off, coming down.  
Still you were resolute, unforgiving toward them.
 
Forced out of the forests, your native tribes
began to attack them. The  fort having been erected 
from your own timber and mud, a triangle of  palisades, 
its delta shape like The Trinity of their intruding God.
 
The swamps teeming with mosquitoes, good water 
in short supply. But  that willful Smith, plain named 
man who had risen to lead them. How they  beset you. 
Their clawing, pitchfork and plow. You could not abide.
 
They continued to raise their maize and boil pitch,
even with your wrath  upon them. Starving, diseased,
dwindled from five-hundred to only  sixty.
Still they came at you from afar, the new arrivals,
 
with provisions for the storehouse, tools to rebuild 
their ruined fort.  The wilderness of you beginning 
to relent, the forest?s edge receding. So  this then is how 
they tamed you, by dying inside your earthen body.
 
Each grave another colony. They loved what they 
found in you, so you  began to feel and favor them.



**************Ideas to please picky eaters. Watch video on AOL Living.      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)
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From anny.ballardini at tin.it  Fri Feb 29 07:42:49 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Fri, 29 Feb 2008 13:42:49 +0100
Subject: [New-Poetry] poets against the war
Message-ID: <B7818F54649544CFB37F1F08D54EF129@AnnyPC>

February 24, 2008

Dear Friends: 


Apologies: the winter 2008 issue of Poets Against War Newsletter has been 
posted since January and I forgot to send out an alert. 


We need your help. You can read in the newsletter about our efforts to aid 
15 seriously hearing-impaired children in Vietnam. Five have hearing aids 
now and are hearing for the first time, thanks to donations from Poets 
Against War. These young people will remember us with gratitude forever. 
It's a gesture we made after talking with many 1st, 2nd and 3rd generation 
victims of Agent Orange in Vietnam last year. (See our Links for more on 
this.) 

We need donations to keep the web page, newsletter and anthology going, and 
to make a few small but important gestures of international good will. 
Everyone at Poets Against War works entirely on a volunteer basis, so your 
contributions will go directly to essential works. Please help. 

Join us if you can at the Split This Rock Poetry Festival in Washington 
D.C. in March, and help us elect a more peaceful, more democratic 
government in this election year. 


Sam Hamill 
Director 
Poets Against War 


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

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! 
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From jforjames at aol.com  Fri Feb 29 10:04:35 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 29 Feb 2008 10:04:35 -0500
Subject: [New-Poetry] POETRY OUT LOUD 
Message-ID: <8CA48FB88241C04-914-666C@webmailbeta-m08.sysops.aol.com>


http://www.sanluisobispo.com/news/local/story/291023.html
Fri, Feb. 29, 2008re
POETRY OUT LOUD COUNTY FINALS

Classic poems with youthful flair
Winners from five local high schools who competed in a countywide competition discover the art of recitation
By Patrick S. Pemberton


?? Reciting poetry is not the same as acting on a stage, poets will tell you. 

Too much drama can take away from the poet?s words, distracting the audience and altering the poet?s intent. 


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From anny.ballardini at tin.it  Fri Feb 29 12:24:23 2008
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Fri, 29 Feb 2008 18:24:23 +0100
Subject: [New-Poetry] radiOM.org
Message-ID: <EEC0BFB183E349B9948A3CF36949AC9F@AnnyPC>

A great link sent to me by Joel Weishaus, 
http://radiom.org/

see under Archive:
Lectures and Panel Discussions:
Ode To Gravity Aspects of the Visionary 57 min 
Charles Amirkhanian talks with David Graham, Gerry Duncan, and Christopher & Teresa Venne about their publication "Attitudes 1", a futuristic thought collection issued in mid-1971. The publication grew out of the groups interest in...


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


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! 
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From halvard at earthlink.net  Fri Feb 29 13:46:23 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Fri, 29 Feb 2008 12:46:23 -0600
Subject: [New-Poetry] radiOM.org
In-Reply-To: <EEC0BFB183E349B9948A3CF36949AC9F@AnnyPC>
References: <EEC0BFB183E349B9948A3CF36949AC9F@AnnyPC>
Message-ID: <6B8EC09A-1955-4D11-83E8-97649D9CC713@earthlink.net>

Quite right. And if you haven't come across the music of
Henry Brant, Lou Harrison, Daniel Lentz (e.g.) here's
a great place to do so. Much else besides.

Hal

"Please stand clear of the closing doors."

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 Feb 29, 2008, at 11:24 AM, Anny Ballardini wrote:

> A great link sent to me by Joel Weishaus,
> http://radiom.org/
>
> see under Archive:
> Lectures and Panel Discussions:
> Ode To Gravity Aspects of the Visionary 57 min
> Charles Amirkhanian talks with David Graham, Gerry Duncan, and  
> Christopher & Teresa Venne about their publication ?Attitudes 1?, a  
> futuristic thought collection issued in mid-1971. The publication  
> grew out of the groups interest in...
>
> 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!
> _______________________________________________
> 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 Feb 29 14:13:16 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 29 Feb 2008 14:13:16 -0500
Subject: [New-Poetry] Q&A: Fil-American poet Patrick Rosal
Message-ID: <8CA491E45991472-914-747A@webmailbeta-m08.sysops.aol.com>


http://www.aapress.com/index.php?subaction=showfull&id=1204244189&archive=&start_from=&ucat=6

A conversation with Fil-American poet Patrick Rosal
By Bryan Thao Worra


Filipino American poet Patrick Rosal is the author of two full-length poetry collections, Uprock Headspin Scramble and Dive , which won the Asian American Writers' Workshop Members' Choice Award, and My American Kundiman. 


Rosal?s chapbook, ?Uncommon Denominators? won the Palanquin Poetry Series Award from the University of South Carolina, Aiken. His poems and essays have been published widely in journals and anthologies including North American Review, Pindledyboz, Black Renaissance Noire, Brevity, Columbia , and the Beacon Best. His work has been honored by the annual Allen Ginsberg Awards, the James Hearst Poetry Prize, the Arts and Letters Prize, Best of the Net among others.

Asian American Press: What are you working on these days, artistically?

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From jforjames at aol.com  Fri Feb 29 14:40:41 2008
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 29 Feb 2008 14:40:41 -0500
Subject: [New-Poetry] Book Arts Conference at Yale March 13-14
Message-ID: <8CA492219F64202-AD0-6027@webmail-stg-d08.sysops.aol.com>

http://beinecke.library.yale.edu/metaphor/index.html

Dear S, some of hte people in the Print Dept., like Jim Lee, might be interested in knowing about this event.
Love,
J
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From jeff.newberry at gmail.com  Fri Feb 29 21:59:31 2008
From: jeff.newberry at gmail.com (Jeff Newberry)
Date: Fri, 29 Feb 2008 21:59:31 -0500
Subject: [New-Poetry] Music While Writing?
Message-ID: <731bb17a0802291859l6e5b7c6br8d68800a35eb578b@mail.gmail.com>

Any of you poets out there listen to music while you compose?  I don't
usually, though I've tried.  I have found that certain music can be rather
generative if I listen to it *before* I write:  Miles Davis, Bill Evans,
certain Hendrix songs, certain brands of acoustic blues.

My problem in listening to music while I write is this:  I'm sitting here,
typing away, and suddenly I'm wondering, "Is that an Amaj7 or a A13?"  Or
"What mode is that solo in?  Mixolydian?"  Then, I'm lost in the composition
of the tune & lose touch with the poem.

What about you all?  Do you listen to music while you compose?  If so, what?

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
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From Sigauke at crc.losrios.edu  Fri Feb 29 22:23:34 2008
From: Sigauke at crc.losrios.edu (Sigauke, Emmanuel )
Date: Fri, 29 Feb 2008 19:23:34 -0800
Subject: [New-Poetry] Music While Writing?
References: <731bb17a0802291859l6e5b7c6br8d68800a35eb578b@mail.gmail.com>
Message-ID: <31F3BD8702DDAD4DAFEAB5245EAAED661D314B@CRC-EXCH01.crc.ad.losrios.edu>

Good timing, Jeff. Your email found composing while listening to Yondo Sister, a Sookos artist from France/DRC. I have no clue what the lyrics say, but the call-response brilliance of the rythms is helpful. 

________________________________

From: new-poetry-bounces at wiz.cath.vt.edu on behalf of Jeff Newberry
Sent: Fri 2/29/2008 6:59 PM
To: NewPoetry
Subject: [New-Poetry] Music While Writing?


Any of you poets out there listen to music while you compose?  I don't usually, though I've tried.  I have found that certain music can be rather generative if I listen to it before I write:  Miles Davis, Bill Evans, certain Hendrix songs, certain brands of acoustic blues.

My problem in listening to music while I write is this:  I'm sitting here, typing away, and suddenly I'm wondering, "Is that an Amaj7 or a A13?"  Or "What mode is that solo in?  Mixolydian?"  Then, I'm lost in the composition of the tune & lose touch with the poem.

What about you all?  Do you listen to music while you compose?  If so, what?

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 <http://museoffireblog.blogspot.com/> 


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From chris.lott at gmail.com  Fri Feb 29 22:28:23 2008
From: chris.lott at gmail.com (Chris Lott)
Date: Fri, 29 Feb 2008 18:28:23 -0900
Subject: [New-Poetry] Music While Writing?
In-Reply-To: <731bb17a0802291859l6e5b7c6br8d68800a35eb578b@mail.gmail.com>
References: <731bb17a0802291859l6e5b7c6br8d68800a35eb578b@mail.gmail.com>
Message-ID: <9b1b9dab0802291928n63fd417fwd77e972c61f17a81@mail.gmail.com>

On Fri, Feb 29, 2008 at 5:59 PM, Jeff Newberry <jeff.newberry at gmail.com> wrote:
>
> What about you all?  Do you listen to music while you compose?  If so, what?

I like the staticy background noise of a not-too-noisy public place
when I'm writing... if I listen to music I tend to go with "classical"
or ambient/electronic of various kinds, primarily because I know so
little about them that I don't get lost in musings about the music
itself or the people who are making it.

c
--
Chris Lott


From halvard at earthlink.net  Fri Feb 29 22:28:43 2008
From: halvard at earthlink.net (Halvard Johnson)
Date: Fri, 29 Feb 2008 21:28:43 -0600
Subject: [New-Poetry] Music While Writing?
In-Reply-To: <731bb17a0802291859l6e5b7c6br8d68800a35eb578b@mail.gmail.com>
References: <731bb17a0802291859l6e5b7c6br8d68800a35eb578b@mail.gmail.com>
Message-ID: <A019832C-8B53-496B-9097-F9024CEF72C8@earthlink.net>

For me, almost always--and almost anything, mostly classical.

Hal

"[News is] what somebody doesn't want you to know.
  All the rest is advertising."
                       --Dan Rather

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 Feb 29, 2008, at 8:59 PM, Jeff Newberry wrote:

> Any of you poets out there listen to music while you compose?  I  
> don't usually, though I've tried.  I have found that certain music  
> can be rather generative if I listen to it before I write:  Miles  
> Davis, Bill Evans, certain Hendrix songs, certain brands of acoustic  
> blues.
>
> My problem in listening to music while I write is this:  I'm sitting  
> here, typing away, and suddenly I'm wondering, "Is that an Amaj7 or  
> a A13?"  Or "What mode is that solo in?  Mixolydian?"  Then, I'm  
> lost in the composition of the tune & lose touch with the poem.
>
> What about you all?  Do you listen to music while you compose?  If  
> so, what?
>
> 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

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From AlMaginnes at aol.com  Fri Feb 29 23:31:58 2008
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Fri, 29 Feb 2008 23:31:58 EST
Subject: [New-Poetry] Music While Writing?
Message-ID: <c3b.2d1d7c5e.34fa363e@aol.com>

As often as not. Usually jazz and not too loud. Since I couldn't tell an A  
chord from an Amaj7th, I tend not to get too distracted by that sort of thing. 
I  have an ipod and I play that at a fairly low volume and it keeps other, 
more  immediate noises from seeping in all the way.



**************Ideas to please picky eaters. Watch video on AOL Living.      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)
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From grahamd at ripon.edu  Fri Feb 29 23:38:12 2008
From: grahamd at ripon.edu (David Graham)
Date: Fri, 29 Feb 2008 22:38:12 -0600
Subject: [New-Poetry] Re: Music While Writing?
In-Reply-To: <c3b.2d1d7c5e.34fa363e@aol.com>
References: <c3b.2d1d7c5e.34fa363e@aol.com>
Message-ID: <1CFED927-EDE0-43FE-BECE-67521CB84742@ripon.edu>

Me too me too.  Jazz, classical, and other instrumental stuff,  
mostly.  Lyrics distract me.  And music can keep street noise and  
such from distracting me.

Very occasionally (more so when I was younger) I would put on Bob  
Dylan or some other wordy singer, and riff off of that.  But that's  
unusual now.  I've created a Pandora station that plays nothing but  
acoustic guitar instrumentals (Leo Kottke, Michael Hedges, Tony  
Rice), and I often like to let that play while scribbling in my journal.

Right now I'm typing to Gil Evans's *Out of the Cool*.  Before that  
it was Duke Ellington's *Piano Reflections*.



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

Home Page:
http://web.mac.com/drjazz

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




On Feb 29, 2008, at 10:31 PM, AlMaginnes at aol.com wrote:

> As often as not. Usually jazz and not too loud. Since I couldn't  
> tell an A chord from an Amaj7th, I tend not to get too distracted  
> by that sort of thing. I have an ipod and I play that at a fairly  
> low volume and it keeps other, more immediate noises from seeping  
> in all the way.
>
>
>
> Delicious ideas to please the pickiest eaters. Watch the video on  
> AOL Living.
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry

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