Don’t call me ‘you,’ me!, Cecilia Corrigan commands herself in a startling line from her recent chapbook True Beige (Trafficker Press, 2013). I read this line and totally flipped out. Throughout her voracious and hilariously self-defeating piece, Corrigan weaves similar, self-reflexive threads that jolted me out of my basic assumptions about everyone’s roles in this unspoken contract: the poet writes a poem, bows out, and then the reader reads it. Not in Corrigan’s world. Here, the poet sticks around. Her active gaze follows you everywhere; it makes a subject of you, of the poem, of itself (Cecilia?), of the narrator (separate from Cecilia?), and of other characters, swiftly and freakily, like a demon possessing different hosts.
The poet’s thoughts about the unfolding poem appear often: These Sentences are getting more complicated in this poem, now; The ‘you’ is shifting in the poem; So many abrupt changes in this poem! By reminding the reader of everything that is happening as it is happening, Corrigan creates a real-time temporality that slaps your imagination on the wrist just when you were about to suspend disbelief. Spooky, twisted, and strong, each of these observations seems to be Corrigan’s cannibal who eats her own body.
The narrator of True Beige has a brassy voice, eager to leap off the page and into a throat.The read-in-my-head text simulates a read-out-loud text, aperformance. There’re only two possible outfits I could wear which could be appropriate for the performance of this poem brings me right there, in the audience, watching the poet in her outfit, gesticulating. When I read, Oh look can I get a volunteer to call me ‘the enemy of all things good and holy?’ I’m like “Ooh! pick me!” Because I do want to call her that.
The narrator further transforms the reader into a listener with these deliberately audible emphases: liiiike, It is so uhhhh?,MATH <clap> MATH! <clap> MATH! <clap>.But the listener in this audience doesn’t stay distanced from the performer. Corrigan is quick to wink at you, show you backstage, even take you home with her. You get to be in her room late at night, creeping over her shoulder, watching her lean on the w key: I think it was the American Poetry Reviewwwwwwwwwwwwww. There are other, less intentional, spelling and grammatical errors that show up across the poem like little cuts and scrapes. Did someone copy edit this? The effect is either revealing of some kind of rough honesty, or just a product of an editorial process that was, as the poet puts it, a real horror.
Settings and narratives in True Beige arise and drift off. Cecilia is in front of a classroom, she gchats with Trisha Low, READ MORE >
November 26th, 2013 / 6:05 pm
I’m Cassandra Gillig and I can’t believe that it’s Not Illegal to buy this new chapbook by Alice Notley. It’s not even imprudent or tacky, it’s just a good thing that is good. I did it two times and am waiting for the results !!!The Results Are In!!! just kidding they’re not I only ordered it seven minutes ago.
No one has gone to the bother of describing the book I have no idea how many pages it is this could be not even a book IS THIS ACTUALLY A BOOK WHAT THE FUCK DID I JUST BUY I AM CALLING THE POLICE if Not A Book then What is It I think probably It is Good do you need more than that? You do? OK it is this big: 5 1/4″ x 7″. I don’t remember if quotes mean inches or feet. Is this a SEVEN FOOT TALL BOOK? This is just how it has to be when you need it to happen. I still don’t know if this is a book or not.
Back in the late seventies or early eighties (what) Robert Creeley said of Alice Notley, “She’s the Boss.” There was even another Boss at that time: Bruce Springsteen. Alice was just that good; she was better than thunder road or hungry heart–much better. I can’t believe I know people who have decided to not buy this chapbook I think it’s just rude. You’re sitting and not buying how should I feel about it if not personally offended. I am a little sour you have not bought it why are you still reading this and not having this page open to order and buy this chapbook. This chapbook was made by The Catenary Press which seems like a reliable source of chapbooks. It seems like–generally–people give them money and then they give those people chapbooks. It’s so crazy this fucked up capitalist economy where you can buy things or even buy works of art. What the fuck I miss the good old days when carriage rides were all that moved me.
I can’t review it because I haven’t read it but I can tell you that without Alice Notley’s work I would be probably engaged to be married to The Wrong Guy. God what would I have done with The Wrong Guy? Would we have even been able to Go Out? There’s a Wrong Guy on almost every corner of every street in every America. I bet none of them would buy this chapbook. Oh god what did I almost do??? I am a marked woman through and through.
If you’re like me and you don’t vote, you probably don’t do it out of dissatisfaction with our current democratic process (though there’s that, duh), you probably do it because you’re lazy, a fact a little at odds with your interest in radical politics. Those lines, those leavers… all those opportunities for fraud (outside the fraud of the entire financial system that makes it possible in the first place), I just can’t. I don’t think not voting is radical; I think it’s a simple disapproval of the way things are done and, really, a real distaste for a line that doesn’t end in free pizza. I’m the ambivalent non-voter. I’d like to see Big Change, but not Barack Obama’s brand (more like the, um, Communist–or Commonist–brand). I’m voting for Ari Spool because I’m a Commonist, really, and I think Ari is too, because common to us all is a kind of ambivalence that really sets her apart from the rest of the field, a plucky, aggressive little group that includes Bill de Blasio whom, of course, I kind of like. I like his wife more, but she’s not running for mayor. Lhota, de Blasio: they just want to win too much. It’s a bad look, face it. They want to live in a mansion and get cozy with all the people that make the rest of us lose our lunch. I’m voting for Ari because I don’t think Ari cares about Business, Big or otherwise, I think Ari cares about art. I’m voting for Ari Spool because I want more art and you should too. Art in the streets, art in your apartment. Art should replace money. Art should be everywhere, right? I also think Ari’s election night party, whether she wins or loses, will be better than de Blasio or Lhota’s combined. See you there?
guys i know we’ve been freakin’ out but for real GOOD NEWS the poetry foundation has heard our cries & last night i received a FIFTEEN DOLLAR BEST BUY GIFT CARD in the mail from them. i also received:
two dollars and thirty five cents
a dog keychain
a buy 1 get 1 free coupon for a small ice cream cone at Culvers (expires 10/31!!)
(u can read abt this on my twitter where last night i covered this momentous string of events in real time) IM NOT LYING IT REALLY HAPPENED!!!!!!!!!
if u haven’t lived in chicago, u most likely don’t know much abt the operations of the Poetry Foundation IRL (from here on out, “pofo” cos that’s how we do it in the poWO-rld). when i was 18 & a fresh young girl from the northern illinois suburbs, i moved to chicago to pursue my dream of being college educated. not too late into my freshman year, i attended a series of events at the pofo building (the first poetry readings i ever went to).
the pofo building is also where i first read copies of two of the greatest books of all time, a fresh young voice from the plains by eileen myles (the greatest poet of all time), and (the greatest poet of all time) alice notley’s at night the states, a release from chicago press YELLOW PRESS which is near & dear to me. the library at the foundation is a blessing for those who don’t have proper interlibrary loan access & what not. i was so young & it was also the first place i saw books by ted berrigan which weren’t the sonnets. i remember being w poet cean gamalinda & us thinking it was the end all be all. yes, i mean, this is not health care, but it was nice. i guess. if nice is all i can muster? so, with all of these things said, my appreciation for the pofo is there, though masked under thousands of complaints & frustrations & true agony/despair.
anyway, i thought i should first say that, “$7500 to poets in need” is a deceptively low number. the pofo does give poets money to come read (& they aren’t always “established” poets & the money is devastatingly low), pay the harriet bloggers (a few of whom i know & most likely you, also, know 1 or 2; they need this money), has started to publish ACTUALLY TALENTED poets who need the $$$ (check out the 2 newest issues of poetry & their pay rates r all right so whoop de doo or whatever), pays a few employees salaries (most of whom r prob poets in need of a job so more whoop dedoo), plus the whole ruth lilly thing which is ballin as hell. they may only give $7500 to poets because they are in need but there r a lot of other things going on it’s not like they’re only spending 8k a year but hoarding the other $. it’s dishonest to bring up #’s without context WHO R WE, REPUBLICANS? i have no idea what the real pofo budget looks like but for people who aren’t familiar w/ all of its operations, that initial low number is a good way of garnering support for a petition dishonestly. so yes i guess the foundation gives $7500 w/ the explicit intention of helping poets out financially in a no-strings-attached kind of way.
am i justifying the pofo right now? hell no COS I CAN GET YOU ANGRY W/O UNJUSTLY FRAMING SOMETHING
the pofo can absolutely eat my shit. their staff has been rude & condescending to me & they spend a lot of money on dumb fancy foods for their receptions. the building is an avant-garde shit show & a totally unnecessary expense. if i were ruth lilly, i’d be rolling over in my grave. (wow i hope this has no bearing on my eligibility to win the ruth lilly fellowship next year!!!!!!!!!!!!!!!!!!) there is a lot of money being blatantly wasted, this is what we need to address. readings at the poetry foundation are in-your-face bougie affairs. the building itself is a waste of money. i have no idea what the other money that the pofo has is being spent on, but i know this $$$ could be used in much better ways. if the pofo isnt giving more money out to poets they probably have other plans for the $ (right?). it’s more effective to pinpoint exactly where they r going wrong & work to reverse that. instead of sushi after a reading, a poet gets healthcare. ok, small steps. maybe they give out less free copies of poetry magazine & a poet gets healthcare? who knows. anyway, i think this whole thing is so strange. the poetry foundation has been offensively wasting money for years; i wish someone would just address this head-on (maybe i have here?). it’s disgusting. i hope someone in that bougie ass glass tower reads this & realizes the error of his or her ways. i own–i kid you not–a poetry foundation rubber bracelet. if they made less swag they would certainly be able to fund more poets’ endeavors.
i think we can all agree that the anonymous letter which appeared on this website yesterday is STUPID so let’s proceed to ignore it or perhaps pretend this one appeared instead. the poetry foundation should give all of its money to poets, but i don’t know a lot abt where that money is going & neither do the people who started the petition. does anyone know? is a budget available to the public? let’s get the poetry foundation to stop giving out free alcohol after readings & start a fund w that dirty champagne money. this is incoherent bc i wrote it at work. i love everyone. i love alice notley & eileen myles so much oh my god. let’s burn down the poetry foundation.
Beyond Vampires and Zombies
An Essay by Felix Bernstein
Vanessa Place’s latest manifesto “Zombie Poetry” accurately frames her modus operandi: to glorify (and sanitize) Freud’s death drive (in which, doomed to never get what you want, satisfactory pleasure becomes impossible), over and against eros (the principle of maximizing pleasure). She provides a didactic demonstration of the death drive by casting herself in the role of Thanatos, a self-proclaimed undead zombie, feeding off (appropriating) the naïve pleasure of those feebleminded creatures who attempt to maximize pleasure, lecturing us that our notion of satisfaction and of mastery is a lie. Place is largely influenced by the famous schtick of Lacanian philosopher Slavoj Zizek, who is a master of belittling the part of us that believes we will find fulfilling objects. His refrain, like the song, is you can’t get what you want but you can get what you need, with this kicker: what you need is an unpleasant excess in the object of your desire that serves as a reminder/remainder of that which is denied in sexual relationships. This unpleasant excess, so-named “the kernel of the real,” can be found as the remainder of fantasies and mathematical equations To extract this rem(a)inder, you must read between the lines of speech, strictly under the Lacanian rubric. Then you will always find this same truth: the split subject, barred from accessing its full desire; in other words, the truth is the failure of desire. And this truth will always be delivered, for it is universally applicable.
For Place, those ‘poets’ who have not taken the conceptual turn that she prescribes, are in the thrall of a silly fantasy that our words might matter before they are decoded, analyzed, or appropriated by a master-analyst. . This is her charge against those poets who have not sufficiently removed themselves from the craft of voicing desire. But also, more troubling, the voices that Place appropriates (the dumb college jokes, the early feminist dogmas, the victim’s testimony) all are framed as being (in their original utterances) naively unaware of the critical discourse into which she is happy to drag them. Those who take on the ‘voices of others,’ be they infused by the traditions of Language or Flarf or New York School poetics [or romanticism or camp or punk] will for Place indulge in an ideological fantasy that does not properly recognize or critique itself. But we all indulge a bit now and then, don’t we? And so it is only human (in the ‘living breathing’ sense) that now, in “Zombie Poetry” when the prospect of Place herself losing relevance enters the scene, that she can finally ask us to be concerned about the personal, the tragic, and the autobiographical, at the expense of the comic and universal. Now, she begs, we ought to look at her particular case, her particular deadpan style, her “I’m melting” bathos, and feel for her! That is, we ought to feel for the woman who is unfeeling.
Indeed, those who do feel for Place now, those who do still recognize her as a mother to their art, but refuse to follow her dogmatically, even those followers, she ridicules for being stupid enough to ‘pay her’ to fulfill this role. By her own calculations, it is inconsequential whether or not one ‘likes’ Vanessa Place, for ‘liking’ is merely a dumb, naïve, response, suitable for social media. It only matters whether or not one is driven to her. And she will, indeed, find that many will be driven her way. And driven by a death drive that is, unlike the one late Freud describes, vaguely pleasant. That is because it is nothing other than a performance of death drive, in the skilled manner of Place or Zizek, it is intelligible, hip, ironic, and stripped of any great dangers. It is in fact more optimistic, gung-ho, communal, and ego-affirming than those arts that indulge openly in true eros. It does not threaten civilization or even make us better understand its discontents. Rather, such performance of thanatos smoothly valorizes what might otherwise have been disruptive, if it were rendered with aesthetic brilliance instead of uncompromising didactic un-deadness.
The vampiric persona has long been iconic of positive, sympathetic, communal identification with the death drive. This identification goes beyond “Garbo is the best” because it is also ” “Garbo’s coldness is our coldness.” Even when nakedly announced in Freudian terms, the death drive is often used as communally binding tool; for example, Lee Edelman’s No Future: Queer Theory and the Death Drive, a revered book in the literary academy (not to mention in the cults around Freud, Zizek, and Lacan). The art world and the pop world, epitomized by Warhol or Lady Gaga, respectively, has found numerous ways to cash in on such glamorous thanatos; but too often the result is art that has zero stakes in its self-conscious display of determinately empty signifiers. Such vampiric signifying feeds on the flesh of signifiers, styles, and dialects that remains alive for those “others” from whom they are appropriated. The vampire thrives via the necrotizing of living symbols for the purpose of galvanizing cash and social mobility. This is why Claire Bishop can praise ‘dark, critical, negativity’ in art (and find Conceptual Poetry to be perfectly negative), all the while, attempting unabashedly to usher these ‘negative’ new forms of art in to the halls of high commodities, with her critical stamp of approval writ large. Of course, such ‘negativity,’ as Zizek or Place or Gaga or Warhol offers, is only as ‘negative’ as it is completely intelligible to art audiences, and it will be forever intelligible because it has no ambivalence about using the signifier, ruthlessly, to prove its point (which is, after all, nothing more than to show that the empty signifier trumps what is conservatively viewed to be an authentic display of desire). But maybe the simplest example to look to, for now, is Twilight, where young Bella, ambivalent about how to register affect, ends up choosing the learned, urbane, death drive of the vampires over and against the dumb, rural, pleasure principle of the werewolves. Which one would you pick? It must be hard being a young post-feminist!
Wonder is accepting manuscripts March 15 – May 15 for our first annual Wonder Book Prize, judged by Macgregor Card. We are accepting full-length manuscripts of any genre. The author of the selected manuscript will receive a $300 prize and publication.
Please send a cover letter, your manuscript and a $10 submission fee ($15 if you would like a final copy of the selected book). Please do not include your name in the manuscript. Each submission will be read blindly by the judge.
I mean I think Blank Friday is a cute name butt I didn’t buy anything but did get a pretend trial of Amajohn Prine so my family could meet Uncle Boonmee Who Can Recall His Past Lives and I really wanted to use the free to-day shipping to buy Cruel Optimism so I could read it on the subway on the way to the reading in New York on Monday you should all impossibly come if you can’t but I will probably never buy a book from Amazon.com but I would buy a painting or/and drawing from Noah Saterstrom, who’s selling them for 10% off thru Sunday and for cheap til Emily Dickinson’s birthday. Email with details below.
Lewis Freedman wrote a book called Catfish Po’ Boys and his mom told him not wolf (as told by Corina Copp) the same way Noah Saterstrom dreamed of not horse whose neighbor was “There is a Cleaved Trailer Inside a Large Catfish”: READ MORE >
Now it snows. Just got word from the best publisher, Siglio Press, that a book signing with Sophie Calle at 192 Books has been rescheduled for this Saturday (11-10) at 6 pm. RSVPs still recommended. If you haven’t gotten Calle’s The Address Book (or the Jess book, Siglio’s other new title; each disappeared swiftly at Printed Matter’s Art Book Fair) this is a chance. If you find yourself at the wonderful 192 Books, be sure to patronize the newly reopened Printed Matter across the street. More on all of this in the next version of this post.
The books are (most to least recent): 1. Apart (Catherine Taylor) 2. Transfer Fat (Aase Berg) 3. On the Tracks of Wild Game (Tomaz Salamun) 4. Road of a Thousand Wonders (Jeffrey Joe Nelson) 5. Afterimage (Damon Krukowski) 6. Uselysses (Noel Black) 7. Slot (Jill Magi) 8. One Sleeps the Other Doesn’t (Jacqueline Waters) 9. The Hermit (Laura Solomon) 10. Cursivism (Will Hubbard) 11. neither wit nor gold (Ammiel Alcalay) 12. Applies to Oranges (Maureen Thorson) 13. And if You Don’t Go Crazy I’ll Meet You Here Tomorrow (Filip Marinovich) 14. The Return of the Native (Kate Colby) 15. Fire Wind (Yvan Yauri) 16. Gowanus Atropolis (Julian T. Brolaski) 17. 60 Textos (Sarah Riggs) 18. El Golpe Chileno (Julien Poirier) 19. This Time We Are Both (Clark Coolidge) 20. The History of Violets (Marosa di Giorgio) 21. Greensward (Cole Swensen) 22. Chinese Notebook (Demosthenes Agrafiotis) 23. Look Back, Look Ahead (Srecko Kosovel) 24. Geometries (Guillevic) 25. To Light Out (Karen Weiser) 26. Moving Blanket (Kostas Anagnopoulos) 27. Ten Walks / Two Talks (Jon Cotner & Andy Fitch) 28. G-Point Almanac: Passyunk Lost (Kevin Varrone) 29. Made-up Interviews With Imaginary Authors (Alex Stein) 30. What Do You Want (Marina Temkina) 31. Hello Failure (Kristen Kosmas) 32. Concertos (No Collective) 33. Malilenas (Garrett Kalleberg) 34. Escape From Combray (Rick Snyder) 35. Neighbor (Rachel Levitsky) 36. The Russian Version (Elena Fanailova) 37. A Plate of Chicken (Matthew Rohrer) 38. Notes on Conceptualisms (Vanessa Place & Robert Fitterman) 39. As it Turned Out (Dmitry Golynko) 40. The Life and Opinions of DJ Spinoza (Eugene Ostashevsky) 41. Poker (Tomaz Salamun) 42. Zero Readership (Filip Marinovich) 43. Dreaming Escape (Valentina Saracini) 44. Vertical Elegies (Sam Truitt) 45. Unbecoming Behavior (Kate Colby) 46. One of a Kind (Jack Micheline) 47. Sleep’s Powers (Jacqueline Risset) 48. Red Shifting (Aleksandr Skidan) 49. Complete Minimal Poems (Aram Saroyan) 50. A Different Practice (Fredrik Nyberg) 51. Blue and Red Things (Laura Solomon) 52. Ideals Clearance (Henry Parland) 53. Dear Body (Dan Machlin) 54. The Hot Garment of Love (Elizabeth Reddin) 55. The Drug of Art (Ivan Blatny) 56. Paper Children (Mariana Marin) 57. Carbon (Michael Ford) 58. The Final Nite (Steve Dalachinsky) 59. Best of My Love (Aaron Kiely) 60. After you, dearest language (Marisol Limon Martinez) 61. Iterature (Eugene Ostashevsky) 62. Chinese Sun (Arkadii Dragomoshchenko) 63. Selected Writings (Cedar Sigo) 64. Nets (Jen Bervin) 65. Bending Spoons (Charlie Foos)
That’s 65 trade titles (each of these is at least $10, most are more, at least one is $20…so that’s already a ~ 66.666% discount)
+ “the following five artist books and oversize editions” :
Dog Ear (Erica Baum) $25
Emergency Index 2011 (various) $40
0 to 9: The Complete Magazine (Acconci/Mayer) $40
Classifications of a Spit Stain (Ellie Ga) $25
The Theory of Everything, Abridged (Ben Luzzato) $40
Basically you’re saving ~ $1000
Here you go. (They take checks.)
For 15 more minutes it is still the first day you could order Caryl Pagel’s first book, EXPERIMENTS I SHOULD LIKE TRIED AT MY OWN DEATH, from Factory Hollow Press, which brought you Caryl Pagel’s first chapbook, Visions, Crisis Apparitions, and Other Exceptional Experiences.
It’s 12 o’clock, I wish it were 11:59. (Who knows who wrote ~ that?) The sale is over but some of the books aren’t sold out. But so many are. So still go.
Until midnight, the discount code LEVITATE gets you *50% off* the *already reduced* price you always get for ordering any book directly from UDP. So, for example, Corina Copp’s PRO MAGENTA / BE MET and Jacqueline Waters’ ONE SLEEPS THE OTHER DOESN’T will run you $10 $8 $4 and $15 $13 $6.50, respectively. Your total for both books, even with shipping, will be less than the list price of Waters’ book alone. Read from / about Copp’s chapbook there there, and hear to Waters read here. Until midnight I’ll add 12 13 more eleventh hour pairs. Suggest things in the comments, on Facebook, at my window, to your neighbors. Of course you don’t need to buy two books, but you probably do.
Uljana Wolf’s FALSE FRIENDS (tr. Susan Bernofsky) + Lev Rubinstein’s THIRTY-FIVE NEW PAGES (tr. Philip Metres / Tatiana Tulchinsky) [Megan Burns, via Fakebook, suggests some Michael Ford with one's Rubinstein]
Filip Marinovich’s AND IF YOU DON’T GO CRAZY I’LL MEET YOU HERE TOMORROW + Julien Poirier’s EL GOLPE CHILEÑO
David Cameron’s FLOWERS OF BAD* Rachel Levitsky’s NEIGHBOR + Christian Hawkey’s VENTRAKL [*distributed by SPD not UDP, so not eligible; Cameron's book is deserving of its own post; it will get it; you should get it, too]
is the code you can use until midnight today to get free shipping on Tyoyeu. What is Tyoyeu? “Tyoyeu by Seths in Poetry.” is the Book of 2007-2011. You can get it today, truly at cost, because shipping its 466 pages will cost you nothing. Keep in mind: ”Our manufacturing process precedes shipping.” (Know too: 2012 not included.) Two copies of Tyoyeu came in the mail today having been shipped expediently, with extra not free shipping. When you have Tyoyeu you will see who needs WHOASHIPPING. Also today: two copies of What Is Amazing arrived, delivered on foot by the author. The author is a fan of Tyoyeu. Fans of the author are fans of what is amazing. Now I’m going to play basketball with Rachel B. Glaser and John Maradik and then I’m going to eat the rest of this pizza
and watch basketball with Emily Pettit while typing words from the six books pictured (Berlin Stories by Robert Walser translated by Susan Bernofsky, TYOYEU by Seths, What Is Amazing by Heather Christle, TYOYEU by Seths, What Is Amazing by Heather Christle, and Conversations with Kafka by Gustav Janouch with a cover by Maira Kalman) in the comments. Whoever is the first to BOTH take a picture of themselves reading both Tyoyeu and What Is Amazing AND correctly match all the words with the correct book (in the comments), that person will receive (either via expedited shipping or delivered on foot by the author of this post) six machines:
- the only copy of a book written just for that person (either OUR THE ROBERT WALSER or NANCY KÖF’S BÖK MADE OUT OF WORDS™ or RODNEY GRAHAM’S MACHINE FOR READING LENZ)
- Matvei Yankelevich’s Bending at the Elbow (trade edition, pictured below)
- Taryn Andrews’ Clouds Can Trees
- Lesley Yalen‘s The Beginning In (watch Lesley read on a Seth’s Divine Magnet)
- Just Kids by Lawrence Giffin and Lauren Spohrer
- This Is What We Are Up Against by Ben Hersey, who is what what is and will be touring with Heather Christle in March and April.
Co-rrection (“so Roithamer”) via the kindly Jordan Stempleman: he co-edits The Continental Review (see post below) with Nicholas Manning, who founded it. Since I can’t correct the post below (because of the video, who knows) and I can’t comment I’m gonna risk redundancy and offer another overview with direct links below a list of some other places that followed in the footsteps of the original video poetry magazine of the future, as it were. (I’m not actually sure TCR was technically the first, if I remember it seems Rabbit Light Movies started about the same time, but it’s the longest running video poetry journal that I know.) Anyway, here are some others:
- Seth Landman’s Divine Magnet
- CAConrad’s Jupiter 88
- new Jubilat: CAConrad, Seth Landman, Kamilah Aisha Moon, Nancy Kuhl, Christopher DeWeese, etc
- notnostrums’ When We Think Of It
- ok that’s actually all I can think of um email walserandco At gmail with more now I’ll do a quick scan of the internet
- http://guerrillareads.com/ (not poetry per se and new to me but appears to occupy a space worth occupying)
- Travis Nichols’ Weird Deer (not video so what)
- while we’re at it Andrew Leland, Everyday Genius nee Paparazzo, interviewed my brother about a video of his comedy act not to laugh at first performed opposite Mark Leidner, Shannon Burns, and Ben Hersey oh yeah Jubilat has videos now added above
- I like that Steve Rogenbuch video that Blake posted thanks Ben Roylance also Heather’s video answers hi Hastings
OK here are some of my favorite videos from TCR: Ryan MacDonald, Ish Klein, Michelle Taransky, Brandon Downing, Susana Gardner, Dana Ward, Jennifer L. Knox, Cara Benson, Linh Dinh, K. Silem Mohammad, Kiki Petrosino, Jordan Stempleman, & Nicholas Manning’s inaugural video
For years now Jordan Stempleman’s The Continental Review has been quietly turning out the farthest seeing television on the prophetube (witness past videos by Ryan MacDonald, Michelle Taransky, Dana Ward, Cara Benson, K. Silem Mohammad, Linh Dinh, Tom Beckett, Susana Gardner, Chris Tysh, Nico Vasilakis, Kiki Petrosino, Eileen Tabios, Alyssa Wolf, Joshua Clover, Noah Eli Gordon, Joshua Marie Wilkinson, Ben Mirov, Daniel Borzutsky…) In the past few weeks, Stempleman’s turned it up to 11. First Amanda Nadelberg’s “Alternatives Considered” and then Paul Legault’s English to English translation of Ashbery’s Self Portrait in a Convex Mirror. Today new videos by Peter Davis and Dara Wier (above) dropped. The latter, a stop motion setting of Wier’s cant miss “Not That Lake,” is a collaboration between Heather Christle, Ben Pease, Emily Pettit, Guy Pettit, and Bianca Stone. They made it in more or less one day, planning a birthday party the whole way. You can watch it in 3 minutes. Or twice in 6 or 3x in 9 or eleven times in 33. You will see.
BLACK FRIDAY* EDITION
Filip Marinovich’s Wolfman Librarian and the Trembling Pair of Actor Hands (online chapbook from EOAGH), appended last week, is wow:
I walked down Wall Street tonight and it felt As if someone was walking inside me Another person taking steps for me Fuck you who told me I couldn't write September Eleventh Poetry I'm moving To Eleventh Street I'm breathing again The world will become a new City People will hug in the street Elizabethanly We will invent a new language together Queen Elizabeth will return from her coven Covent Garden and will sing opera LA Boheme on the steps of the Federal Building joining hands Why are there trains rumbling beneath this grass The Love Interest Woman will not die of T.B. at the end of La Boheme the snow will go away and we will find it again in our pencilcases when we awake firstgraders sweating the first day of first grade and Happy Birthday William Carlos Williams September Seventeenth Two Thousand and Ten How old would you be today what would you say about the towers would you believe me if I told you the unburied dead of Wall Street one of them walked in me took my steps is this my flesh peripheral vision greenery wolverines gnawing at me and vomiting me up a new man with powers to heal Wolfman Librarian Wolfman Wolfman Librarian Wolfman
http://occupywriters.com/ contains multitudes:
- Ana Božičević: And is the world
your world, peace and war yours, and are
you leaving some building arc as
an up-combed lady into a fated date night,
like it was the time for keening,
magic string, like the divide
between word and thing just up
and flew, and you just knew to live?
- Joshua Cohen on Bloomberg’s visit to Zuccotti Park: “This fall, every day Downtown has felt like the first day at a strange new school—where “We” have to solve for plural pronoun before attacking the darker math.” (cf. Cathy Wagner’s new math in last week’s WSJ) (Marinovich: “when we awake firstgraders sweating the first day of / first grade”
- Eileen Myles on the mic
- Matthew Zapruder, “Poem for Plutocrats”
- Jonathan Lethem, “Tickling the Dead or Six Jokes About Cognitive Dissonance”
- Thirteen Observations made by Lemony Snicket while watching Occupy Wall Street from a Discreet Distance
- Francine Prose: “As far as I can understand it myself, here’s why I burst into tears at the Occupy Wall Street camp.”
- Ursula K. Le Guin
- D.A. Powell, “The Great Unrest
- Alice Walker, Anne Waldman, et al
William Scott, an English professor from the University of Pittsburgh spending his sabbatical working at the OWS Library, in The Nation: “The People’s Library of Occupy Wall Street Lives On”
The People’s Library holds a press conference documenting the destruction of 3,000 books (including a book which Philip Levine, Poet Laureate of the United States, donated to the Library when he visited the day before the raid and Ariana Reines’ one-day-old Mercury) and demanding that the Bloomberg Administration replace them.
Luc Sante writes a Letter to the Public Editor of the New York Times (not published)
Robert Hass in the NYT: “Poet Bashing Police”
HTMLGIANT on UC-Davis:
Thanks to Gracie who commented on the last post: “Whiskey & Fox’s “Parks & Occupation” series can be found here: http://www.whiskeyandfox.org/” (I confess that I thought this was a Parks & Recreation parody, a response to Eric Tegethoff’s call, also in the comments, for OWS comedy)
Also in last week’s comments: Donald Breckenridge points us toward an excerpt from a new translation (by Donald Nicholson-Smith) of Raoul Vaneigen’s The Revolution Of Everyday Life in The Brooklyn Rail.
*since it now starts on Thursday
(via Damn the Caesars)
This will be a newspaper. Please leave leads for future editions in the comments.
- Frank Sherlock’s “Love Letter November 15″ (via Thom Donovan)
- Melissa Broder’s “I Don’t See No Riots Here”
- Susan Bernofsky’s “Who Has Rights?” & “PEN Deplores Occupy Wall Street Press Freedom Violations”
- Ian Dreiblatt’s “A Counterviction”
- Debbie Hu’s “To Heartbreak Hotel” (via Anne Boyer)
- Stephen Boyer and the OWS Librarians (Betsy Fagin, Filip Marinovich–see also his chapbook, added below–et al): OWS Poetry Anthology, Boyer on the (first) raid of the OWS Library, at Harriet, Corina Copp catalogs reactions to OWS Library seizure, this should be its own post, shout out to Adam Tobin’s Unnameable Books for helping OWS library re-up
- Feliz L. Molina’s “We Are Unstoppable, Another World is Possible” (via CA Conrad)
- Cami G’s “Why I got arrested at Oscar Grant Plaza” (via Sara Larsen)
- October at the Poetic Labor Project (w/ Lindsey Boldt, Jackqueline Frost, Bill Luoma, Melissa Mack, Sean Labrador y Manzano, Michael Nicoloff, Jill Richards, Wendy Trevino, Brian Whitener, Ida Yoshinaga, and Stephanie Young)
- Montevidayo: Dan Hoy’s “Crash the Heavens” (Part 1) (Part 2) (via Ariana Reines) + links to Steve Evans’ “Free (Market) Verse” (read the whole thing at Evans’ Third Factory) and Salon.com on the Croatoan Poetic Cell’s occupation of The Poetry Foundation (with a promise of a letter from Prynne by Kent Johnson in the comments)
- Aviezer Coppe’s A Fiery Flying Roule: to all the inhabitants of the earth; specially to the rich ones. 10. Lauren Berlant on the genre of the situation, Geoffrey G. O’Brien’s words spoken at Sproul Plaza 9. William Fuller, Jennifer Moxley, Emma Goldman 8. Keston Sutherland on The Clearance of Trafalgar Square, 26 March 2011 7. Walter Benn Michaels on unemployment (reprinted from The Brooklyn Rail) 6. Avital Ronnell, Rosa Luxemburg, Adam Phillips, Jasper Bernes, Joshua Clover, Annie McClanahan 5. Alice Notley, Steven Zultanski, Letters from a student 4. Lauren Berlant’s 4 paragraphs on the popular and populism, new math from Catherine Wagner, “If I feel physically as if the top of my head were taken off, I’m probably at work.”–Brandon Brown 3. A Love Letter from Rosa Luxemburg, Susan Howe, Adam Weg’s On the People’s Microphone: A Letter from Chicago 2. Sean Bonney’s Letter on Riots and Doubt, Jackson Mac Low, David Graeber, Hannah Arendt 1. Gertrude Stein, Robert Duncan, Stanley Cavell, Eric White, oikos, kairos, megaphone, stethoscope (via Lewis)
- This just in: Catherine Lacey’s “On Place Memory, The Other Side and Yelp as a Forum for Political Debate”
- Breaking news from Ana Božičević: You can read Filip Marinovich’s EOAGH chapbook Wolfman Librarian and the Trembling Pair of Actor Hands online
I don’t get the HTMLGIANT internal memos but I feel like Mike Young told me that people (you people?) don’t like when people (what people?) write about events, especially events in New York, so I won’t say anything about the launch of Nothing tonight at BookCourt at 7. Also I forget to read HTMLGIANT but it looks like no one’s said anything about how one can already get Nothing in the mail? Nothing is not a nail?
Anyway, if you are ANYWHERE near Gertrude Stein’s Oakland, you should be THERE THERE, at Book Zoo, where Amanda Nadelberg and Mark Leidner are reading TONIGHT at 7 pm.
The first time I saw Amanda Nadelberg read it was in a movie theatre and was one of the best readings I have ever seen / heard. The first time I heard Mark Leidner read he read with Shannon Burns of Lousville and it was one of the best readings I have ever heard / seen.
The second time I heard Amanda Nadelberg read was the first time I saw my brother perform a Comedy Act Not To Laugh At and again Amanda Nadelberg brought the house down. The second time I heard Mark Leidner, my brother did another Comedy Act Not To Laugh At and Mark Leidner did standup and everyone laughed.
My brother first performed his third Comedy Act Not To Laugh At opening for Mark Leidner (and Shannon Burns and Ben Hersey) at the launch for Leidner’s Beauty Was The Case That They Gave Me at Flying Object. Tonight he’s performing said Comedy Act in Louisville opening for Bonnie Prince Billy.
Point is, if you don’t go see Amanda Nadelberg & Mark Leidner tonight, you’re missing out. I’m missing out. So: if, in the comments, you leave the best scoop on any of today’s events, I’ll send you a copy of Shannon Burns’ Preserving the Old Way of Life (Factory Hollow Press) and Ben Hersey’s This Is What We’re Up Against (The Chuckwagon), a book beloved by Blake Butler, author of nothing. (What’s a scoop? Read Shannon Burns’ “What’s the Scoop?” after the jump.)
Amanda Nadelberg is the author of Isa the Truck Named Isadore (Slope Editions), Building Castles in Spain, Getting Married (The Song Cave), and, forthcoming from Coffee House Press this April, Bright Brave Phenomena.
Mark Leidner is the author of three chapbook cities, The Night of 1000 Murders (Factory Hollow Press), Willie (minutes BOOKS), Romantic Comedies (The Chuckwagon), and the book of aphorisms, The Angel in the Dream of Our Hangover (Sator Press). His first book of poetry, Beauty Was The Case That They Gave Me is just out from Factory Hollow Press. READ MORE >