[New-Poetry] Asking for help from journal editors
David Baratier
editor at pavementsaw.org
Thu Jul 3 21:47:37 EDT 2008
I am looking for blurbs from various journal editors and others for our forthcoming Simon Perchik book-length serial poem volume _The Family of Man_.. It's massive but looks like with signatures a number of interior pages for blurbs are available. To the best of my research, the list below contains all the journals these poems first appeared in. If you are in contact with any of these publications, former editors, happen to be one of them, or are a fan of his work please contact me.
ACM, Abalone Moon Journal, Abbey, Abramelin, Abraxas, Adirondack Review, Affair of the Mind, Age of Koestler, Alaska Quarterly, Albatross, Aldebaran, Alembic, Alsop Review, Altadena Review, Amanita Brandy, American Letters & Commentary, Amherst Review, Anathema Review, Anemone, Angelflesh, Anomone Sidecar, Apocalypse, Apocryphaltext, Apostrophe, Apple Valley Review, Arachne, Archipelago, Architrave, Argestes, Arnazella, Art:Mag, Art & Understanding, Art/Life, Artful Dodge, Artisan, Artword Quarterly, Ascent, Ash Canyon Review, Asheville Review, Asylum Arts, Audience, Aura, Aurorean, Axe Factory, Back Porch, Bakunin, Baltimore Review, Barbaric Yawp, Bear Deluxe, Beatlick News, Becoming, Behind Bars, Bellevue Literary Review, Beloit Poetry Journal, Berkeley Poetry Review, Bitter Oleander, Black Bear Review, Black Buzzard Review, Black Fly Review, Black Warrior Review, Blank Gun Silencer, Blind Man’s Rainbow, Block’s Magazine, Blood and Fire, Bloomsbury
Review, Blue Light Review, Blue Unicorn, Blue Violin, Bluefish, Blueline, Bluff City Review, Bogg, Booklovers, Borderlands, Born Magazine, Boston Literary Review, Boulevard, Bravado, Brazo’s Gumbo, Broadkill Review, Brooklyn Review, Burning Cloud, Butterfly Chronicles, California Quarterly, Cache Review, Café Review, Café Solo, Caffeine Destiny, Cairn, Calapooya, Caliban, Cameltalk, Canadian Dimension, Cannon’s Mouth, Cape Rock, Caprice/Ancient Mariner, Catbird Seat, Catharis Quarterly, Cathartic, Caveat Lector, Ceilidh, Celebration, Cement Squeeze, Center, Cerberus, Ceremony, Cervena Barva, Chaffin Journal, Chantarelle’s Notebook, Charitan Review, Chase Park, Chattahoochee Review, Chelsea, Cider Press Review, Circle Magazine, Clackamas Review, Clutch, Coal City Review, Coffee & Chicory, College English, Colorado North, Colorado Review, Columbia Poetry Review, Common Ground, Common Knowledge, Conditional Response, Conduit, Confluence,
Confrontation, Connecticut Poetry Review, Connecticut River Review, Contact II, Conte, Context South, Cotton Boll/Atlanta Review, Cottonwood Review, Crab Creek Review, Cream City Review, Creeping Bent, Cresset, Crystal Drum, Curbside Review, Curious Rooms, Current Accounts, Daybreak, Defined Providence, Denver Quarterly, Descant, Devil’s Millhopper, Diagram, Dickinson Review, Dixie Phoenix Review, DMQ, Dog River Review, Down in the Dirt, Dusty Dog, Eagle’s Flight, East West, Eclipse, Edgz, 88: A Journal, Ekphrasis, El Dorado Review, Elements, Eleventh Muse, Elixir, English Journal, Epoch, Erased, Sigh, Sigh, Eratica, Etcetera, Ever Dancing Muse, Evergreen Review, Exit 13 Magazine, Expose’d , Expressive Spirals, Exquisite Corpse, Externalist, Eyerhyme, Fairfield Review, Farmer’s Market, Faultline, Fine Madness, First Intensity, Fish Drum, 5 Trope, 580 Split, Flying Horse, Folio, Footprints, Footwork Magazine, Forum, 4 am Poetry Review, Free
Lunch, Frigg Magazine, Frisson, Full Circle Journal, Fullosia, G W Review, Galley Sail Review, Gargoyle, Garnet, Gayme, Goerge & Mertie’s Place, Geronimo Review, Ghoti Magazine, Glass Cherry, Gnome, Good Foot, Gopherwood Review, Grab-A-Nickel, Grasslands Review, Grasslimb, Great Midwestern Quarterly, Greatcoat, Green Hills Literary Lantern, Green Mountains Review, Green’s Magazine, Greetings, Gryphon, Habersham Review, Half Tones To Jubilee, Hamilton Stone, Hammers, Hampden-Sydney Review, Hanging Loose, Hapa Nui, Harvard Magazine, Hawaii Review, Hayden’s Ferry, Haz Mat, Heeltap, Heliotrope, Hellp, Hey, Listen, Hidden Oak, Higgensville Reader, High Plains Literary Review, Hiss Quarterly, Hoboeye, Hodge Podge, Hogtown Creek Review, Hollins Critic, Home Planet News, Homesstead Review, Hot Flashes, Hubbub, Hunger Magazine, Hyper Text, Ibis, Icon, Iconoclast, Idiom 23, Illya’s Honey, Images, Imploding Tie-Dyed Toupe, Indefinite Space, Ink Pot,
Intent, Interim, International Poetry Review, Into The Teeth Of The Wind, Iodine Poetry Journal, Ironwood, Jaw Magazine, Jeopardy, Jones Avenue, Journal of New Jersey Poets, Just West of Athens, Kaleidoscope, Kerf, Kimera, Kinesis, King Log, King’s English, Kingfisher, Konfluence, L’intrigue, Laddie, Lake Effect, Language & Culture, Last Tangos, Late Knocking, Laughing Dog, Ledge, Liberty Hill, Limestone, Linden Lane Magazine, LiNQ, Listening Eye, Lit Rag, Literary Review, Little Magazine, Live and Let Live, Live Poets Society, Long Island Quarterly, Loose Watch, Lost & Found Times, Louisville Review, Loyalhanna Review, Lucid Moon, Lucid Stone, Lucky Star, Lullwater Review, Lunatic Chameleon, Lynx Eye, m.a.g., MacGuffin, Madison Review, Malstrom, Main Street Rag, Maine Event, Mandrake, Mangrove Magazine, Mankato Poetry Review, Mannequin Envy, Manoa, Margie, Marlboro Review, Massachusetts Review, Masthead, Maverick Magazine, Meanjin, Meat Whistle
Quarterly, Medicinal Purposes, Medusa’s Hairdo, Meeting of the Minds, Memo, Mesechabe, Metropolitan, Mi Poesia, Mid-American Review, Midland Review, Mildred, Milk, Miller’s Pond, Mind Purge, Minimus, Missing Spoke, Mississippi Mud, Mixed Bag, MM Review, Mobius, Mocking Bird, Modern Review, Montserrat Review, Moondance, Mr.Cognito, MSS, Mudfish, Mudlark, Mundus Artium, Mushroom Dreams, Muuna Takeena, Nancy’s Magazine, Nassau Review, Nebraska Review, Nerve Bundle Review, New Collage Magazine, New Delta Review, New Hampshire Review, New Hope Review, New Laurel Review, New Letters, New Madrid, New Mexico Humanities, New Millennium, New Mirage Quarterly, New Rag Rising, New Verse News, New Yinzer, New York Quarterly, New Yorker, Newport Review, Newsletter Inago, Nexus, Nidus, Nimrod, Ninth Decade, No Exit, No Tell Motel, Northeast, Northeast Corridor, Northeast Journal, Northwest Florida Review, Northwest Review, Not Dead But Dreaming, Now Here
Nowhere, O.ARS, Oasis, Object Lesson, Obsessed With Pipework, Odin’s Eye, Ohio Review, Old Crow, Old Red Kimono, On The Bus, One Less Magazine, One Trick Pony, Open Unison, Orange Willow Review, Orbis, Oregon Review, Osiris, Otisian Direcrtory, Over The Transom, Overview Ltd., Owen Wister Review, Oxford Magazine, Oyez, Pacific Coast Journal, Painted Bride Quarterly, Painted Hills Review, Panhandler, Pannus Index, Panoply, Paper Salad, Papyrus, Paradox, Parnassus Literary Review, Parting Gifts, Partisan Review, Pebble Lake, Pedestal Magazine, Pembroke Magazine, Pequod, Perimeter, Phantasmagoria, Phase & Cycle, Philadelphia Poets, Phoebe, Pikeville Review, Pink Cadillac, Pitchfork, Pittsburg, Quarterly, Plain Brown Wrapper, Plainsongs, Plastic Tower, Plum Review, Poem, Poesia, Posey Magazine, Poet & Critic, Poet House, Poet Lore, Poet News/Tule, Poet’s Art, Poet’s Cut , Poet’s Edge Magazine, Poet’s Guild, Poet’s Page, Poetalk, Poetic Hours,
Poetic Space, Poetic Voices, Poetpourri, Poetree Magazine, Poetry Bone, Poetry Conspiracy, Poetry Depth Quarterly, Poetry In Motion, Poetry Kanto, Poetry Midwest, Poetry Now, Poetry Superhighway, Poets On, Porcupine Magazine, Portals, Postcard, Potato Eyes, Potomac Review, Potpourri, Prairie Dog, Prairie Schooner, Prairie Winds, Premiere Generation, Preying Mantis, Prism International, Private, Provincetown Arts, Psychopoetica, Pudding Magazine, Puerto del Sol, The Quarterly, Queen’s Quarterly, Racs, Radiant Turnstile, Rag Mag, Rain Dog Review, Raintown Review, Rambunctious Review, Red Booth Review, Red Cedar Review, Red China Magazine, Red Rock Review, Redoubt, Remark, Rhapsoidia, Rhino, Rio: A Journal, Rio Grande Review, River King, Riverrun, Riversedge, Riverwind, Rohwedder, Rowboat, Runes, S.L.U.G. Fest, Sacramento Poetry Review, Sage of Consciousness, Salmon Magazine, Salt, San Gabriel Quarterly, Sandscript, Santa Barbara Review, Schuylkill
Valley Journal, Scribia , Scrivener, Sea Change, Sepia 60, Sequoia, Shades of December, Shampoo Poetry, Shattered Wig, Short Fuse, Side Show Magazine, Sidereality, Sierra Nevada Review, Signal, Silent But Deadly, Silt Reader, Silver Web, Silverfish Review, 69 Flavors of Paranoia, Skidrow Penthouse, Skylark, Skyline, Skywriters, Slope, Small Pond Magazine, Small Town Rain, Smartish Pace, Snail’s Pace Review, Softblow, Solo, Somona Mandala, Sonora Review, Sou’wester, Soul Fountain, Sounds of Poetry, South Dakota Review, South Florida Poetry Review, Southern Bumblebee, Southern Humanities Review, Southern Poetry Review, Southwestern Review, Spindrift Journal, Spindrifter, Spout, St. Andrews Review, Stickman, Strange Fruit, Stray Dog, Sub-Terrain Review, Sulpher River Review, Talisman, 10th Muse, Third Coast, 13th Warrior Review, Thorny Locust, 3 am Poetry Review, Tipton, Torre de Papel, Unlikely Stories, Unwound, Vincent Brothers Review, Virginia
Literary Review, Vol. No. Magazine, Washington Review, Weber Studies, West Hills Review, Westwind, Whiskey Island Magazine, White Crow, White Heron, Whole Notes, William & Mary Review, Wisconsin Review, Writers Forum, Writers’ Journal, Xanadu, Xavier Review, Yefief, and Zillah.
Be well
David Baratier, Editor
Pavement Saw Press
321 Empire Street
Montpelier OH 43543
http://pavementsaw.org
Subscribe to our e-mail listserv at
http://pavementsaw.org/list/?p=subscribe&id=1
--- On Thu, 7/3/08, new-poetry-request at wiz.cath.vt.edu <new-poetry-request at wiz.cath.vt.edu> wrote:
From: new-poetry-request at wiz.cath.vt.edu <new-poetry-request at wiz.cath.vt.edu>
Subject: New-Poetry Digest, Vol 49, Issue 5
To: new-poetry at wiz.cath.vt.edu
Date: Thursday, July 3, 2008, 4:00 PM
Send New-Poetry mailing list submissions to
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When replying, please edit your Subject line so it is more specific
than "Re: Contents of New-Poetry digest..."
Today's Topics:
1. Re: CD Wright's body count (Roger Day)
2. RE: CD Wright's body count (Skip Fox)
3. Goodreads' Poetry Group (amy king)
4. Re: CD Wright's body count (Bob Grumman)
5. Re: CD Wright's body count (jforjames at aol.com)
6. Re: CD Wright's body count (TheOldMole)
7. Re: What I witnessed (TheOldMole)
8. Re: What I witnessed (TheOldMole)
9. Re: What I witnessed (John Jeffrey)
10. Transcontinental Poetry Award deadline 8/15/2008 (David Baratier)
11. Re: What I witnessed (Rsgwynn1 at cs.com)
12. Re: What I witnessed (Chris Lott)
13. Re: CD Wright's body count (Roger Day)
14. Re: What I witnessed (Rsgwynn1 at cs.com)
15. Re: What I witnessed (Chris Lott)
16. Re: CD Wright's body count (Suzanne Burns)
17. Re: CD Wright's body count (Suzanne Burns)
----------------------------------------------------------------------
Message: 1
Date: Wed, 2 Jul 2008 19:15:07 +0100
From: "Roger Day" <rog3r.day at gmail.com>
Subject: Re: [New-Poetry] CD Wright's body count
To: "NewPoetry: Contemporary Poetry News &, Views"
<new-poetry at wiz.cath.vt.edu>
Message-ID:
<fde503480807021115y724b899brecf5d4dd06961bfd at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
Sorry. I was shooting from the hip. Not always advisable when writing emails.
Roger
On Wed, Jul 2, 2008 at 4:45 PM, Beverly Rainbolt
<brainboltpoet at gmail.com> wrote:
> Uhmmm, that was a joke.
>
> On Wed, Jul 2, 2008 at 10:20 AM, Roger Day <rog3r.day at gmail.com>
wrote:
>>
>> Do people actually *buy* poems like they do photographs? I don't
think so.
>> Roger
>>
>> On 7/2/08, Beverly Rainbolt <brainboltpoet at gmail.com> wrote:
>> > Wow. Kind of makes you wonder what the poems are going for.
>> >
>> > 2008/7/2 <Rsgwynn1 at cs.com>:
>> > > http://edelmangallery.com/lusterp.htm
>> > > _______________________________________________
>> > > 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
>> >
>> >
>>
>>
>> --
>> My Stuff: http://www.badstep.net/
>> "I began to warm and chill
>> to objects and their fields"
>> Nick Cave & The Bad Seeds
>> _______________________________________________
>> 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
>
>
--
My Stuff: http://www.badstep.net/
"I began to warm and chill
to objects and their fields"
Nick Cave & The Bad Seeds
------------------------------
Message: 2
Date: Wed, 2 Jul 2008 14:25:44 -0500
From: "Skip Fox" <skip at louisiana.edu>
Subject: RE: [New-Poetry] CD Wright's body count
To: "'NewPoetry: Contemporary Poetry News & Views'"
<new-poetry at wiz.cath.vt.edu>
Message-ID: <8F5C2AB834A945F7BACD5715074AE486 at win.louisiana.edu>
Content-Type: text/plain; charset="us-ascii"
Good work is good work. If someone's into exploiting others, he or she is
not usually doing good work. If he or she both exploits and creates good
work, then should we attack the work or the person for the exploitation?
C.D. Wright is not only exploiting no one but doing amazingly good work as
well.
(One wonders, sometimes, what the real issue is.)
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Message: 3
Date: Wed, 2 Jul 2008 13:15:57 -0700 (PDT)
From: amy king <amyhappens at yahoo.com>
Subject: [New-Poetry] Goodreads' Poetry Group
To: "NewPoetry: Contemporary Poetry News &, Views"
<new-poetry at wiz.cath.vt.edu>, UB Poetics discussion group
<POETICS at LISTSERV.BUFFALO.EDU>
Message-ID: <193748.3263.qm at web83307.mail.sp1.yahoo.com>
Content-Type: text/plain; charset="iso-8859-1"
Dear Poets,
If you are a member of Goodreads (similar to LibraryThing), consider joining
the Poetry Group there: http://www.goodreads.com/group/show/233._POETRY_
The group includes a number of discussions --
INTRODUCTIONS ~~~ MY BOOK / POEM IS PUBLISHED! ~~~ ADVICE - QUESTION FOR YA!
~~~ I APPRECIATE POETRY CRITIQUE ~~~ YOU’VE GOTTA READ THIS POEM! ~~~ CALLS
FOR WORK - SUBMIT! ~~~ POETRY WRITING SUGGESTIONS ~~~ PLEASE HELP ~~~
RECOMMENDED BOOKS ~~~ POETRY REVIEWS ~~~ FUN STUFF ~~~
We now have a total of 781 Goodreads’ members, so if you’re down with
discussions that fall under the above headings, join the gang!
Best,
Amy
_______
Recent
http://www.tarpaulinsky.com/Reviews/kiss-me.html
http://jacketmagazine.com/34/dickow-king.shtml
Alias
http://www.amyking.org
Your Suggestions
http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/
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Message: 4
Date: Wed, 02 Jul 2008 17:25:57 -0500
From: Bob Grumman <bobgrumman at nut-n-but.net>
Subject: Re: [New-Poetry] CD Wright's body count
To: "NewPoetry: Contemporary Poetry News & Views"
<new-poetry at wiz.cath.vt.edu>
Message-ID: <486C0075.8000708 at nut-n-but.net>
Content-Type: text/plain;charset=ISO-8859-1;format=flowed
Roger Day wrote:
> It's lazy rhetoric, Robert. I thought you would have known better. It
> just displays your prejudice.
>
What's a better term for describing one whose political opinions are the
same as, Nancy Pelosi's, say?
> CD Wright went for the money and got it. More power to her elbow.
> Doubtless she has dependancies to look after, as do we all.
>
Agreed, Roger. But I was responding to the argument that her "poetry of
witness" was not making her big bucks, that's all.
> I'm currently looking at scholarships to try and go to Art School.
> Doubtless there are better artists out there than me. Let them
> compete, as I will do.
>
> Roger
Sure, but compete as what: advocates of what I call political
correctness, or as artists? In this case, I imagine the latter, since
the position of student isn't as socially important as the office of
member of the Society of American Poets or the like.
--Bob
------------------------------
Message: 5
Date: Wed, 02 Jul 2008 18:32:12 -0400
From: jforjames at aol.com
Subject: Re: [New-Poetry] CD Wright's body count
To: new-poetry at wiz.cath.vt.edu
Message-ID: <8CAAAAA9AA62B58-75C-123B at WEBMAIL-DC06.sysops.aol.com>
Content-Type: text/plain; charset="us-ascii"
That's not a lot unless you sell a lot. Galleries close all the time for
want of sales. A few artists make it big...but most, like most poets, make ends
meeting teaching, doing workshops, etc.?Galleries, good ones, ones that can
really sell their stock, take 40% or more. With each sale the artist is often
recovering cost of materials, equipment (costly in photograhy), mounting &
framing, sudio rental, etc. And time planning, developing and executing the
work.?I
?hope Luster is one of the lucky ones. Her work strikes me as strong (and her
'sentiments' are in the right place).
Finnegan
-----Original Message-----
From: Beverly Rainbolt <brainboltpoet at gmail.com>
Sent: Wed, 2 Jul 2008 11:12 am
Subject: Re: [New-Poetry] CD Wright's body count
Wow. Kind of makes you wonder what the poems are going for.
2008/7/2 <Rsgwynn1 at cs.com>:
http://edelmangallery.com/lusterp.htm
_______________________________________________
New-Poetry mailing list
New-Poetry at wiz.cath.vt.edu
http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
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New-Poetry at wiz.cath.vt.edu
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Message: 6
Date: Wed, 02 Jul 2008 20:32:39 -0400
From: TheOldMole <Opus40-01 at opus40.org>
Subject: Re: [New-Poetry] CD Wright's body count
To: "NewPoetry: Contemporary Poetry News & Views"
<new-poetry at wiz.cath.vt.edu>
Message-ID: <486C1E27.70804 at opus40.org>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
David Ferguson used to sell them in the same way.
http://www.youtube.com/watch?v=680Pn_jXBfc
Roger Day wrote:
> Sorry. I was shooting from the hip. Not always advisable when writing
emails.
>
> Roger
>
> On Wed, Jul 2, 2008 at 4:45 PM, Beverly Rainbolt
> <brainboltpoet at gmail.com> wrote:
>
>> Uhmmm, that was a joke.
>>
>> On Wed, Jul 2, 2008 at 10:20 AM, Roger Day <rog3r.day at gmail.com>
wrote:
>>
>>> Do people actually *buy* poems like they do photographs? I
don't think so.
>>> Roger
>>>
>>> On 7/2/08, Beverly Rainbolt <brainboltpoet at gmail.com> wrote:
>>>
>>>> Wow. Kind of makes you wonder what the poems are going for.
>>>>
>>>> 2008/7/2 <Rsgwynn1 at cs.com>:
>>>>
>>>>> http://edelmangallery.com/lusterp.htm
>>>>> _______________________________________________
>>>>> 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
>>>>
>>>>
>>>>
>>> --
>>> My Stuff: http://www.badstep.net/
>>> "I began to warm and chill
>>> to objects and their fields"
>>> Nick Cave & The Bad Seeds
>>> _______________________________________________
>>> 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
------------------------------
Message: 7
Date: Wed, 02 Jul 2008 21:37:10 -0400
From: TheOldMole <Opus40-01 at opus40.org>
Subject: Re: [New-Poetry] What I witnessed
To: jjeffreymail at yahoo.com, "NewPoetry: Contemporary Poetry News &
Views" <new-poetry at wiz.cath.vt.edu>
Message-ID: <486C2D46.6070704 at opus40.org>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
You think that's depressing -- consider that all this is pretty much
what was said about Keats -- flabby poetry, wouldn't have been published
at all if it weren't spouting politically correct Leigh Hunt liberalism.
John Jeffrey wrote:
> Now I'm depressed.
>
>
>
> --- On *Wed, 7/2/08, TheOldMole /<Opus40-01 at opus40.org>/* wrote:
>
> From: TheOldMole <Opus40-01 at opus40.org>
> Subject: Re: [New-Poetry] What I witnessed
> To: "NewPoetry: Contemporary Poetry News & Views"
> <new-poetry at wiz.cath.vt.edu>
> Date: Wednesday, July 2, 2008, 12:58 PM
>
> There's no one standard for what makes a good poem, and we
don't know
> we're right. Maybe Maya Angelou's flabby poetry of witness
will be read
>
> 200 years from now as the defining work of our time, and -- hard as it
> is to believe -- Aram Saroyan won't be remembered vividly. Or
Ashbery,
> or Levine, or Jorie Graham
>
> Chris Lott wrote:
> > On Wed, Jul 2, 2008 at 06:07, John Jeffrey
> <jjeffreymail at yahoo.com>
> wrote:
> >> -- "Now, was that applause for me, for the poem, or for
the
> sentiments in
> >> the poem? You know, applause can be so ambiguous."
> >>
> >> THAT is what (at least) I am talking about, that sentiment
makes many
> people
> >> raise their opinion of a poem, praising flabby, bland poems
to the
> status of
> >> "powerful" if they agree with the point of view put
forward
> by the poet.
> >
> > No doubt. But the complications are obvious: bad poems can still
do
> > good things... and denigrating good poems because one
*doesn't* agree
> > with the position being taken is at least as common as
artificially
> > elevating them (when anyone cares at all). Then again, past a
pretty
> > basic level, I'm not at all sure that aesthetic appraisal--
as
> > relative and individual as it is-- can really be so neatly
> > disentangled from other
> cultural and philosophical understanding.
> >
> > I've only seen three poems (one of them incomplete) from this
book by
> > Wright, but none of them struck me as bland and flabby. On the
other
> > hand, I lost all credibility in not being entranced by much of
O'Hara.
> > And I have an inordinate number of family members who have been
in the
> > prison system (and some who still are) so, for reasons stated
above,
> > my view comes from a different place than some others. The
implication
> > in some of the discussion is that I should be more sensitive to
> > "exploitation" because of that.. .and I think I am, but
then we
> get
> > back to the fact that even bad poems can do good things, like
giving a
> > problem most constantly and happily ignore even a little
exposure.
> >
> > c
> > _______________________________________________
> > 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
------------------------------
Message: 8
Date: Wed, 02 Jul 2008 21:37:59 -0400
From: TheOldMole <Opus40-01 at opus40.org>
Subject: Re: [New-Poetry] What I witnessed
To: jjeffreymail at yahoo.com, "NewPoetry: Contemporary Poetry News &
Views" <new-poetry at wiz.cath.vt.edu>
Message-ID: <486C2D77.9010307 at opus40.org>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
http://www.newyorker.com/arts/critics/books/2008/07/07/080707crbo_books_kirsch?currentPage=all
John Jeffrey wrote:
> Now I'm depressed.
>
>
>
> --- On *Wed, 7/2/08, TheOldMole /<Opus40-01 at opus40.org>/* wrote:
>
> From: TheOldMole <Opus40-01 at opus40.org>
> Subject: Re: [New-Poetry] What I witnessed
> To: "NewPoetry: Contemporary Poetry News & Views"
> <new-poetry at wiz.cath.vt.edu>
> Date: Wednesday, July 2, 2008, 12:58 PM
>
> There's no one standard for what makes a good poem, and we
don't know
> we're right. Maybe Maya Angelou's flabby poetry of witness
will be read
>
> 200 years from now as the defining work of our time, and -- hard as it
> is to believe -- Aram Saroyan won't be remembered vividly. Or
Ashbery,
> or Levine, or Jorie Graham
>
> Chris Lott wrote:
> > On Wed, Jul 2, 2008 at 06:07, John Jeffrey
> <jjeffreymail at yahoo.com>
> wrote:
> >> -- "Now, was that applause for me, for the poem, or for
the
> sentiments in
> >> the poem? You know, applause can be so ambiguous."
> >>
> >> THAT is what (at least) I am talking about, that sentiment
makes many
> people
> >> raise their opinion of a poem, praising flabby, bland poems
to the
> status of
> >> "powerful" if they agree with the point of view put
forward
> by the poet.
> >
> > No doubt. But the complications are obvious: bad poems can still
do
> > good things... and denigrating good poems because one
*doesn't* agree
> > with the position being taken is at least as common as
artificially
> > elevating them (when anyone cares at all). Then again, past a
pretty
> > basic level, I'm not at all sure that aesthetic appraisal--
as
> > relative and individual as it is-- can really be so neatly
> > disentangled from other
> cultural and philosophical understanding.
> >
> > I've only seen three poems (one of them incomplete) from this
book by
> > Wright, but none of them struck me as bland and flabby. On the
other
> > hand, I lost all credibility in not being entranced by much of
O'Hara.
> > And I have an inordinate number of family members who have been
in the
> > prison system (and some who still are) so, for reasons stated
above,
> > my view comes from a different place than some others. The
implication
> > in some of the discussion is that I should be more sensitive to
> > "exploitation" because of that.. .and I think I am, but
then we
> get
> > back to the fact that even bad poems can do good things, like
giving a
> > problem most constantly and happily ignore even a little
exposure.
> >
> > c
> > _______________________________________________
> > 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
------------------------------
Message: 9
Date: Wed, 2 Jul 2008 19:36:02 -0700 (PDT)
From: John Jeffrey <jjeffreymail at yahoo.com>
Subject: Re: [New-Poetry] What I witnessed
To: TheOldMole <Opus40-01 at opus40.org>, "NewPoetry: Contemporary
Poetry
News & Views" <new-poetry at wiz.cath.vt.edu>
Message-ID: <876228.94154.qm at web54109.mail.re2.yahoo.com>
Content-Type: text/plain; charset="us-ascii"
Hmmm. So let's see if there's any transitive relation here:
1) Angelou's poetry is flabby and critical attacked,
2) Keats' poetry was flabby and critical attacked,
3) therefore Angelou = Keats.
----- Original Message ----
From: TheOldMole <Opus40-01 at opus40.org>
To: jjeffreymail at yahoo.com; "NewPoetry: Contemporary Poetry News &
Views" <new-poetry at wiz.cath.vt.edu>
Sent: Wednesday, July 2, 2008 9:37:10 PM
Subject: Re: [New-Poetry] What I witnessed
You think that's depressing -- consider that all this is pretty much
what was said about Keats -- flabby poetry, wouldn't have been published
at all if it weren't spouting politically correct Leigh Hunt liberalism.
John Jeffrey wrote:
> Now I'm depressed.
>
>
>
> --- On *Wed, 7/2/08, TheOldMole /<Opus40-01 at opus40.org>/* wrote:
>
> From: TheOldMole <Opus40-01 at opus40.org>
> Subject: Re: [New-Poetry] What I witnessed
> To: "NewPoetry: Contemporary Poetry News & Views"
> <new-poetry at wiz.cath.vt.edu>
> Date: Wednesday, July 2, 2008, 12:58 PM
>
> There's no one standard for what makes a good poem, and we
don't know
> we're right. Maybe Maya Angelou's flabby poetry of witness
will be read
>
> 200 years from now as the defining work of our time, and -- hard as it
> is to believe -- Aram Saroyan won't be remembered vividly. Or
Ashbery,
> or Levine, or Jorie Graham
>
> Chris Lott wrote:
> > On Wed, Jul 2, 2008 at 06:07, John Jeffrey
> <jjeffreymail at yahoo.com>
> wrote:
> >> -- "Now, was that applause for me, for the poem, or for
the
> sentiments in
> >> the poem? You know, applause can be so ambiguous."
> >>
> >> THAT is what (at least) I am talking about, that sentiment
makes many
> people
> >> raise their opinion of a poem, praising flabby, bland poems
to the
> status of
> >> "powerful" if they agree with the point of view put
forward
> by the poet.
> >
> > No doubt. But the complications are obvious: bad poems can still
do
> > good things... and denigrating good poems because one
*doesn't* agree
> > with the position being taken is at least as common as
artificially
> > elevating them (when anyone cares at all). Then again, past a
pretty
> > basic level, I'm not at all sure that aesthetic appraisal--
as
> > relative and individual as it is-- can really be so neatly
> > disentangled from other
> cultural and philosophical understanding.
> >
> > I've only seen three poems (one of them incomplete) from this
book by
> > Wright, but none of them struck me as bland and flabby. On the
other
> > hand, I lost all credibility in not being entranced by much of
O'Hara.
> > And I have an inordinate number of family members who have been
in the
> > prison system (and some who still are) so, for reasons stated
above,
> > my view comes from a different place than some others. The
implication
> > in some of the discussion is that I should be more sensitive to
> > "exploitation" because of that.. .and I think I am, but
then we
> get
> > back to the fact that even bad poems can do good things, like
giving a
> > problem most constantly and happily ignore even a little
exposure.
> >
> > c
> > _______________________________________________
> > 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
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Message: 10
Date: Wed, 2 Jul 2008 20:19:12 -0700 (PDT)
From: David Baratier <editor at pavementsaw.org>
Subject: [New-Poetry] Transcontinental Poetry Award deadline 8/15/2008
To: new-poetry at wiz.cath.vt.edu
Message-ID: <666995.10595.qm at web45616.mail.sp1.yahoo.com>
Content-Type: text/plain; charset="windows-1252"
The Annual Transcontinental Poetry Award by Pavement Saw Press
All contributors receive books, chapbooks and journals equal to, or more than,
the entry fee.
Please mention this to your friends and all others who might be interested!
Electronic and mailed entries must meet these requirements:
1. The manuscript should be at least 48 pages of poetry and no more than 70
pages of poetry in length. Separations between sections are NOT a part of the
page count.
2. A one page cover letter. Include a brief biography, the book's title,
your name, address, and telephone number, and, if you have e-mail, your e-mail
address. This should be followed by a page which lists publication
acknowledgments for the book. For each acknowledgement mention the publisher
(journal, anthology, chapbook etc.) and the poem published.
3. The manuscript should be bound with a single clip and begin with a title
page including the book's title, your name, address, and telephone number,
and, if you have e-mail, your e-mail address.
4. The second page should have only the title of the manuscript. There are to
be no acknowledgments or mention of the author's name from this page
forward. Submissions to the contest are blind judged.
5. There should be no more than one poem on each page. The manuscript can
contain pieces longer than one page.
6. The manuscript should be paginated, beginning with the first page of poetry.
Each year Pavement Saw Press will publish at least one book of poetry and/or
prose poems from manuscripts received during this competition. Selections are
chosen through a blind judging process. The competition is open to anyone who
has not previously published a volume of poetry or prose. The author receives
$1000 and five percent of the 1000 copy press run. Previous judges have
included Judith Vollmer, David Bromige, Bin Ramke and Howard McCord.. This year
David Baratier will be the judge; past students, Pavement Saw Press interns and
employees are not allowed to submit. All poems must be original, all prose must
be original, fiction or translations are not acceptable. Writers who have had
volumes of poetry and/or prose under 40 pages printed or printed in limited
editions of no more than 500 copies are eligible. Submissions are accepted
during the months of June, July, and until August 15th. All submissions must
have an August 15th, 2008, or earlier,
postmark. This is an award for first books only.
If you wish to send via regular mail your manuscript should be accompanied by a
check in the amount of $20.00 made payable to Pavement Saw Press. All US
contributors to the contest will receive books, chapbooks and journals equal
to, or more than, the entry fee. Add $3 ( US ) for other countries to cover the
extra postal charge. Do not include an SASE for notification of results, this
information will be sent with the free book. Do not send the only copy of your
work. All manuscripts are recycled and individual comments on the manuscripts
cannot be made.
If you wish to submit electronically, you should send $27.00 via paypal to
info at pavementsaw.org. We will then send you an e-mail confirmation as well as
where to e-mail the manuscript. Electronic submissions need to be sent as PDF
files or as word (.doc) files. Other formats are not accepted. The extra cost
is to cover the paypal fees as well as the time, labor, ink, and so on, to
print out your manuscript. In addition to the prize winner, sometimes another
anonymous manuscript is chosen, if enough entries arrive. This “editors
choice” manuscript will be published under a standard royalty contract. A
decision will be reached in November. Entries should be sent to:
Pavement Saw Press
Transcontinental Award Entry
321 Empire Street
Montpelier, OH 43543
All submissions must have an August 15th, or earlier, postmark or paypal
payment.
Submissions are accepted during the months of June, July, and August only.
If you have questions, please ask us: info at pavementsaw.org
Be well
David Baratier, Editor
Pavement Saw Press
321 Empire Street
Montpelier OH 43543
http://pavementsaw.org
Subscribe to our e-mail listserv at
http://pavementsaw.org/list/?p=subscribe&id=1
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Message: 11
Date: Wed, 2 Jul 2008 23:57:32 EDT
From: Rsgwynn1 at cs.com
Subject: Re: [New-Poetry] What I witnessed
To: new-poetry at wiz.cath.vt.edu
Message-ID: <d32.343d6e11.359da82c at cs.com>
Content-Type: text/plain; charset="us-ascii"
In a message dated 7/2/2008 9:36:41 PM Central Daylight Time,
jjeffreymail at yahoo.com writes:
>
> Hmmm. So let's see if there's any transitive relation here:
>
> 1) Angelou's poetry is flabby and critical attacked,
> 2) Keats' poetry was flabby and critical attacked,
> 3) therefore Angelou = Keats.
>
>
>
>
Undistributed middle term.
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Message: 12
Date: Wed, 2 Jul 2008 20:48:14 -0800
From: "Chris Lott" <chris.lott at gmail.com>
Subject: Re: [New-Poetry] What I witnessed
To: "NewPoetry: Contemporary Poetry News &, Views"
<new-poetry at wiz.cath.vt.edu>
Message-ID:
<9b1b9dab0807022148s4c7cda44h40e1871ec9935fc9 at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
On Wed, Jul 2, 2008 at 19:57, <Rsgwynn1 at cs.com> wrote:
> In a message dated 7/2/2008 9:36:41 PM Central Daylight Time,
> jjeffreymail at yahoo.com writes:
>
> Hmmm. So let's see if there's any transitive relation here:
>
> 1) Angelou's poetry is flabby and critical attacked,
> 2) Keats' poetry was flabby and critical attacked,
> 3) therefore Angelou = Keats.
>
> Undistributed middle term.
Is it really? I need to refresh my memory from logic class.
Anyway, this gets right to the heart of the matter that will never be
resolved. The "is" and "was" are the critical terms... and
I'm sure
the attackers of Keats were no more open to being persuaded than we
who don't think Angelou is much of a poet are-- and they would
likewise be just as shocked to find out they were "wrong" as we would
be if we could last 100 or so more years to check...
c
------------------------------
Message: 13
Date: Thu, 3 Jul 2008 07:21:21 +0100
From: "Roger Day" <rog3r.day at gmail.com>
Subject: Re: [New-Poetry] CD Wright's body count
To: "NewPoetry: Contemporary Poetry News &, Views"
<new-poetry at wiz.cath.vt.edu>
Message-ID:
<fde503480807022321h4043c80vb8f221031c8fb84e at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
If the terms of the competition are stated up-front, then I have no
problem with that. It's only if the competition is skewed behind the
scenes, then I do have a problem. I suspect a lot of women apply for
jobs which appear to be open but which are in actually not.
I've sat on selection boards for charities; people tend to select
those candidates they like. Although I see you wear a tin-foil hat.
Roger
On Wed, Jul 2, 2008 at 11:25 PM, Bob Grumman <bobgrumman at nut-n-but.net>
wrote:
>
>> I'm currently looking at scholarships to try and go to Art School.
>> Doubtless there are better artists out there than me. Let them
>> compete, as I will do.
>>
>> Roger
>
> Sure, but compete as what: advocates of what I call political correctness,
> or as artists? In this case, I imagine the latter, since the position of
> student isn't as socially important as the office of member of the
Society
> of American Poets or the like.
>
> --Bob
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
--
My Stuff: http://www.badstep.net/
"I began to warm and chill
to objects and their fields"
Nick Cave & The Bad Seeds
------------------------------
Message: 14
Date: Thu, 3 Jul 2008 10:09:01 EDT
From: Rsgwynn1 at cs.com
Subject: Re: [New-Poetry] What I witnessed
To: new-poetry at wiz.cath.vt.edu
Message-ID: <c43.374070c9.359e377d at cs.com>
Content-Type: text/plain; charset="us-ascii"
In a message dated 7/2/2008 11:48:32 PM Central Daylight Time,
chris.lott at gmail.com writes:
> Anyway, this gets right to the heart of the matter that will never be
> resolved. The "is" and "was" are the critical terms...
and I'm sure
> the attackers of Keats were no more open to being persuaded than we
> who don't think Angelou is much of a poet are-- and they would
> likewise be just as shocked to find out they were "wrong" as we
would
> be if we could last 100 or so more years to check...
>
> c
History has treated lots of popular poets pretty badly--Shenstone, Cowley,
Hunt, Amy Lowell et al. And sometimes the reverse happens as well. Keats
wasn't without his champions, though.
http://books.google.com/books?hl=en&id=7wDODci8tLYC&
dq=keats+critical+heritage&printsec=frontcover&source=web&ots=E3rpF5INjD&
sig=MGPAklZqZRZus3RTRfhccW6RZLo&sa=X&oi=book_result&resnum=6&ct=result#PPR8,M1
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Message: 15
Date: Thu, 3 Jul 2008 09:20:22 -0800
From: "Chris Lott" <chris.lott at gmail.com>
Subject: Re: [New-Poetry] What I witnessed
To: "NewPoetry: Contemporary Poetry News &, Views"
<new-poetry at wiz.cath.vt.edu>
Message-ID:
<9b1b9dab0807031020r4d8c8961udea300d431d762e4 at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
On Thu, Jul 3, 2008 at 06:09, <Rsgwynn1 at cs.com> wrote:
> History has treated lots of popular poets pretty badly--Shenstone, Cowley,
> Hunt, Amy Lowell et al. And sometimes the reverse happens as well. Keats
> wasn't without his champions, though.
>
>
http://books.google.com/books?hl=en&id=7wDODci8tLYC&dq=keats+critical+heritage&printsec=frontcover&source=web&ots=E3rpF5INjD&sig=MGPAklZqZRZus3RTRfhccW6RZLo&sa=X&oi=book_result&resnum=6&ct=result#PPR8,M1
> _______________________________________________
True, that. I don't know that anyone of Clare's stature is shilling
for Maya Angelou either...
c
------------------------------
Message: 16
Date: Thu, 3 Jul 2008 13:41:17 -0400
From: "Suzanne Burns" <atelierjewelweed at gmail.com>
Subject: Re: [New-Poetry] CD Wright's body count
To: "NewPoetry: Contemporary Poetry News &, Views"
<new-poetry at wiz.cath.vt.edu>
Message-ID:
<bda48ea50807031041s55420939y758cf3db3e9b5698 at mail.gmail.com>
Content-Type: text/plain; charset="iso-8859-1"
On Wed, Jul 2, 2008 at 1:36 PM, Bob Grumman <bobgrumman at nut-n-but.net>
wrote:
>
>
> Roger Day wrote:
>
>> "politically correct": the lowest denominator of criticism
these days.
>> Something you don't like?
>>
>
> It's a descriptive term whose meaning everyone knows, Roger.
I disagree. It ceased to be a descriptive term a long, long time ago. What
is became is a It's a great big rubber stamp one slaps down to dismiss,
trivialize, and above all silence any discussion of a political or social
issue (especially if it concerns women) one does not want to hear about.
I too call bullshit. If you don't like CD Wrights work, fine, but please
say
something real.
Suzanne Burns
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Message: 17
Date: Thu, 3 Jul 2008 13:49:29 -0400
From: "Suzanne Burns" <atelierjewelweed at gmail.com>
Subject: Re: [New-Poetry] CD Wright's body count
To: "NewPoetry: Contemporary Poetry News &, Views"
<new-poetry at wiz.cath.vt.edu>
Message-ID:
<bda48ea50807031049g713770aao218d492f187f7967 at mail.gmail.com>
Content-Type: text/plain; charset="iso-8859-1"
On Wed, Jul 2, 2008 at 6:32 PM, <jforjames at aol.com> wrote:
> That's not a lot unless you sell a lot. Galleries close all the time
for
> want of sales. A few artists make it big...but most, like most poets, make
> ends meeting teaching, doing workshops, etc. Galleries, good ones, ones
that
> can really sell their stock, take 40% or more. With each sale the artist
is
> often recovering cost of materials, equipment (costly in photograhy),
> mounting & framing, sudio rental, etc. And time planning, developing
and
> executing the work. I
> hope Luster is one of the lucky ones. Her work strikes me as strong (and
> her 'sentiments' are in the right place).
> Finnegan
I really love these photographs and feel the same way.
And thank you Jim for pointing out how this really works for the artist--
After you subtract materials and everything else you have listed, factor in
the cut taken by the gallery and then divide what is left over by the TIME
the artist spent developing the idea abd work through to find the right
image and then actually finish the work....
It's nothing. NOTH-ING.
The artist also takes all the risk. They have to front all the materials
and time AND take the risk that nobody will buy the work in the end. Bottom
line: for most fine artists it really is not at all about the money.
I have this conversation often with a members of my extended family who are
shocked-- SHOCKED!-- at how much money I paid for a painting once. Some
people really do not get how much work and time goes into something like
this. Yeah, I bought a painting instead of a sofa. Big whup. That to me
sounds like smart and sensible thing to do. Who needs a sofa?
Suzanne Burns
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