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I've just gotten back from California. This blog has been dead for a while, no? I may just send it on it's way cross the Lethe. But here's a fun image for the new Kiki & Herb show that will be going up soon. More info about it below. I saw their Christmas show in March (they were in London during Xmas) and it was pretty fab. Better than the revolution in Rock that's apparently happening in Williamsburg, meiner Meinung nach (i.e. IMHO). Justin Bond (Kiki) has done work with everyone from the Boredoms to Stephen Merritt (I think), and has a solo show a la Ute Lemper (I think).
KIKI & HERB: COUP DE THÉATRE
Be the first to see the outrageous Kiki & Herb in their new production Kiki & Herb: Coup de Théatre.Theatre. All preview performances just $35
- April 25 through May 6 ONLY!
Kiki & Herb: Coup de Théatre is the wickedly funny story of the fictitious yet famed duo Kiki and Herb, whose career has careened through 5 decades of near success. Kiki & Herb: Coup de ThéatreThéatre, their newest theatrical spectacle, is a riotous spoof that combines an over-the-top storytelling with the reinvention of the best of the underground music scene, cabaret standards and surprise pop/rock favorites from Styx’ “Come Sail Away” to Suede’s “Big Time”, and songs from Radiohead, Eminem, Gil Scott Heron and The Association. Scott Elliott, (whose Broadway credits include The Women, Three Sisters and, Present Laughter, directs this production.
Audiences and critics around the world know and love this outrageous duo from previous Obie-award winning installments and sold out engagements performances.
“The best thing to happen to New York nightlife since Sound Factory!”
-- Time Out New York
“Kiki & Herb sings the blues with a chaser of rock, pop and pure
pathos!”
-- Next
Kiki (created and played by Justin Bond) is a brash, boozy septuagenarian chanteuse with a bruising vocal style and the ability to tell a story as few can. Herb (created and played by Kenny Mellman) is the shy, stalwart, long-time accompanist, who shows that still waters really do run deep as he periodically pounds the keys with a passion and vengeance all his own.
Take advantage of this exclusive preview offer – all seats, all performances through May 6 just $35 (after May 7 regular prices $55 - $50 apply).
Tues-Thurs at 8; Fri & Sat at 7 and 10
Cherry Lane Theater
38 Commerce Street (3 Blocks south of Christopher St., west of Seventh
Ave. South.)
ORDER YOUR TICKETS NOW!
Call Telecharge 212.239.6200 or online at www.telecharge.com <http://www.telecharge.com/> . Tickets also available at the Cherry Lane box office.
Limited offer through May 6th ONLY– all seats, all performances through May 6 only. This offer may be revoked at any time. Subject to availability. Not valid on prior purchases. All sales final. No refunds or exchanges. Telephone and internet orders subject to regular service charge.
The 2-part issue of poetry, essays and digital frauds and piccalillis, titled arras 5: riddled argots, is now available at arras.net.
With any luck I'll have time to explain what the title means in the near future, but for now, download this unholy duo of action-packed .pdfs at the following URL:
http://www.arras.net/arras_5.htm
part i
Featuring: Darren Wershler-Henry, Tim Atkins, Edwin Torres, a. rawlings, Jacques Debrot, Lisa Jevbratt, Gregory Whitehead, Kent Johnson, Craig Dworkin, Kevin Killian, Brian Kim Stefans, Caroline Bergvall, Reptilian Neolettrist Graphics, Mara Gálvez-Bretón, Jordan Davis, Katherine Parrish
part ii
Featuring: Kevin Davies, Katie Degentesh, Ira Lightman, Carol Mirakove, Lisa Jevbratt, Christian Bök, Gary Sullivan, Dagmar's Chili Pitas, Alice Becker-Ho, Free Space Comix, derek beaulieu, Jessica Grim, Rodrigo Toscano, Kenneth Goldsmith, Robert Fitterman, Darren Wershler-Henry
Complete table of contents below...
Art for both issues: Lisa Jevbratt : from Synchromail
Covers: derek beaulieu : from with wax
part i
Darren Wershler-Henry : Lang Po vs. the Wu-Tang
Tim Atkins : Written Never Meaning
Edwin Torres : 2 poems
a.rawlings : selections from LOGYoLOGY and wide slumber for lepidopterists
David Villeta : An Interview with Jacques Debrot
Gregory Whitehead : Bugs Bardo
Kent Johnson : Maireya (2)
Craig Dworkin : from Parse
Kevin Killian and Brian Kim Stefans : from The American Objectivists
Caroline Bergvall : more pets less girls
Reptilian Neolettrist Graphics : The Origins of the Korean War
Mara Gálvez-Bretón : What good is a silvery tongue / without a lover's body to savor?
Jordan Davis : from Equanimity
Katherine Parrish : "I in Error on the trail of the writing subject in digital procedural poetics. (essay)
part ii
Kevin Davies : 2 poems
Katie Degentesh : 4 poems
Ira Lightman : 6 Poems
Carol Mirakove : 4 from temporary tattoos
Christian Bök : NOYTA CCCP
Gary Sullivan : PPL IN A DEPOT (flarf play)
Toadex Hobogrammathon : from Dagmar Chili Pitas (a blog)
Alice Becker-Ho : The Language of Those In The Know (essay)
Free Space Comix : Suzanne Dathe, Grenoble, France-Can We Win?
derek beaulieu : 11 Poems from with wax
Jessica Grim : 4 poems
Rodrigo Toscano : 62 prose units written in illness
Kenneth Goldsmith : "Speedpass"
Robert Fitterman : from This Window Makes Me Feel
Darren Wershler-Henry: Writing Machines to Write to Writing Machines
[The following poems were based on the first and last lines on pages of an issue of Pom Pom, a magazine premised on reusing lines and poems from previous issues for new work. The page numbers refer to those from which the lines are taken -- I think the issue is online at their site. Anyway, they were rejected. They are trivial, indeed, and a bit college-humorish, but I'd always liked National Lampoon as a kid.]
GO NOW
You have been named Synonymous
So dance like a monkey.
[45, 48]
THE PROBLEM IS ALWAYS TIMING
Watching the farmers collect their wheat and not saying a word since last Christmas
I promise to sodomize her upon request while shoving the money of rich bastards in my ears.
[54, 51, 9]
POEM (for Carol Mirakove)
For my sister Carol
Lying.
[36, 37]
IN A STATION OF THE METRO
Ended
During a movie.
[25]
JUST LIKE YOU SAID, KEVIN
Things were better in 1603.
Those of us who slept with Racine couldn’t poke a lick of French and were sure better lippers for it.
[60, 38, 46]
A LITTLE GREEN MARTIAN
To grease the wheels of steel
He made some joke about how A Streetcar Named Desire was written about him.
[9, 47, 50]
AT THE EDGE OF WILDERNESS
Sean’s boobs.
What would you do, just lay there and let it happen?
[54, 17, 55]
COSMIC SNIGGLY
Are you sometimes completely unable to enter the spirit of things?
I promise to sodomize her upon request while shoving the money of rich bastards in my ears.
[37, 59, 9]
TU FU A.K.A. TOMMY PUSS
Some poets are always jerking off.
Did you look for it
with a lantern?
[52, 56, 59]
OF FIRE
Some mornings your hair is on
fire.
My Jesus was Kathy Acker.
[57, 60]
[I didn't actually read this at the "Digital Fever" event yesterday except select sentences and the second to last paragraph. It's very me-oriented as Kenny, Darren, Aaron and Craig were there right next to me so I assumed they's speak for their own projects. I wrote it less than an hour so it's pretty basic.]
My own activities, in regards to “archiving poetry in digital media,” have been at this point three-fold at this point: editing the /ubu section of .pdfs of Kenneth Goldsmith’s ubu.com site, putting up .pdfs of magazine runs, literary criticism and other oddities (such as Bruce Andrew’s political writings) on my own site, arras.net, and posting poems and poetics essays, along with news articles and tasteless political poster art, on Circulars, a site created to provide a means for poets to speak on issues of American involvement as “policing” the world and its rapid approach to adopting a philosophy of exaggerated military prowess to influence world politics.
The /ubu series has so far had one run, and includes both reprints of out-of-print (or, accidentally, simply hard-to-find) books that I gather, through my Spidey sense, will be of some interest to the community -- Kevin Davies first book Pause Button, from 1992, for instance, seemed a natural fit given that his last book Comp. was such a big hit, and Madeline Gins’ book What The President Will Say And Do, with its poignant, mischievous wit, is, besides being a lot more approachable than a lot of her recent work with Arakawa on Reversible Destiny, a great example of taking a perverse prism on social and linguistic realities that is both compelling, utopian in its affect, and directly engaged -- in terms of the apostrophe -- with previous administrations (in her case, Nixon / Ford / Carter).
There are also new titles in that series, of both drama (Richard Foreman, Mac Wellman) and poetry (Jessica Grim, the Scottish poet Peter Manson, whose manuscript, Adjunct: An Undigest, which was floundering in the U.K., inspired the entire series). This kind of range is not often covered by small presses who are not in an economic position to reprint titles that even upon initial publication were entirely marginal; it’s something New Directions could, and did, do in its time, but which doesn’t seem an option for, say, Roof, Edge, or O Books (though they do publish some reprints, just not regularly). The cultural capital that accrues around fine typesetting -- it seems one of the more common features of my "generation" is that we've all done some significant work in Quark, and handful are actually professionally trained (Goldsmith in the visual arts, hence the beautiful cover designs of /ubu) -- goes a long way in giving these maverick publications and air of confidence and importance, not to mention beauty -- the don't look like "small press" books, and though the romance of the samizdat edition is lost in that, there is a slight humor in how good you can make things look even though, until they are printed, they are immaterial.
The .pdfs on arras.net are usually just pet projects that I find interesting, but also take on literary criticism -- I’ve published the entire run of Steve Evans’ Notes to Poetry, a series of e-mail critical writings that caused a stir the year of their circulation, 1998. I’m about to launch Poli Sci: The Political Science Writings of Bruce Andrews. Back in my grad school days, I suspected that this body of work would shed some light on how Andrews thinks his poetry operates in the “world” -- he’s probably the only Political Science writer who actually incorporated his poetry in his conference papers -- as I was impatient with the idea that poets were too light headed and theory-minded to think about anything else effectively but poetry. The thirteen essays I have online, the last written in 1984, are all he wrote for the field he teaches in at Fordham University.
Circulars is a multi-author blog -- several of the stories were posted by Darren Wershler-Henry, who, among other things, digs up incredible items regarding the phenomena of digital resistance (including hacktivism and digital detournement), thus adding a peculiarly anthropological element in what I originally conceived of as a “protest” site of sorts, an announcement board for events, a platform for poets to articulate -- in what I was hoping would be unconventional, but engaging manners -- the anti-war/pacifist movements aspirations, and to collect the unabashedly something -- chatty, caustic, frank, vulnerable -- brand of social critique characteristic of the blogs.
My sense was that -- with the peculiar sets of knowledge that so many different poets had in the community -- whether it be Darren with his digital edge, Scott Pound who is now teaching in Turkey, Carole Mirakove with her eyes on the alternative media lists, her “Mirakove Relays” are a regular feature of the site), Ron Silliman and Rodrigo Toscano with their work in the labor movement, the English poet Keston Sutherland with his Cambridge brand of Marxism, and the various satirists out there like Stephen Vincent with this “Gothic News” items -- we could have a very distinctive site that represented a sort of “alternative Zeitgeist,” a site that gave a lot of the bad news but would also have a propulsive, multi-vectored perspective that, if anything, would reflect an image of an active, not necessarily political, community “mind” at work. I also hoped it would “train” some poets in web phenomena as, after all, a lot of what I came across was quite new to me, too.
Creativity regarding the present political situation is, to my mind, in desperate demand -- there is certainly enough alternative media, talks of direct action protests, etc., but the aspect of pleasure, in creativity, in critique and dissent is lacking, and I somehow think the protest movement (what do we call it now?) will never really grow to incorporate some vital elements without this creative edge to it.
Well, you get the picture...
Basically, what I want to say, in the light of these three activities, is that I don’t like to think of anything on the web as “archiving,” but as some form of activism -- I call it “tele-active” activity, using a term from Lev Manovitch to describe those art works where, for instance, one sits behind their desk in New Jersey and, communicating with a robot arm in Kyoto via the internet, grows a geranium in Japan. My sense is that what we do on the web has to have some sort of dynamism to it -- has to aspire, even if it is only a dream, to alter the avenues of distribution, cultural capital, etc., rather than simply to “make something more available.” I think of the web as a sort of carnival -- to use a word from Bakhtin -- or a sort of heteroglossic text, a la Dostoyevksy’s Brother’s Karamazov or a play of Shakespeare’s, in which many voices are actively, urgently, even opaquely play off or against each other, or even in synch. The end might be the same -- formatting something, running it through Adobe Distiller, putting it online -- but the philosophy (I speculate) leads me to make unusual decisions, or at least, this aspect of carnival makes it interesting to me. Were everyone to start posting beautifully formatted .pdfs online all the time it might just become boring.
I am very much aware that the province of the web is mostly a place for educated, mostly white, mostly middle class, mostly Western, people, but nonetheless I have to believe that what gets out there will some how make it’s way “into the world” via a printer, passed on like the days of yore, and that someone -- just one person is enough, I feel -- will have their perspectives altered (as mine were when I first came upon Ezra Pound’s books in a Jersey City library) because of the distinctively corrosive illuminations of poetry. And it’s amazingly public -- I’ve never received a cease-and-desist order form the Times for a poem I’ve written, a minor incident in the run of internet censorship of “hacktivism” but somewhat alarming for the tradition of United States poetry, which -- fortunately or unfortunately, depends on what you want to do -- can be safely ignored.
[Another plug for this event, in case you're in town.]
Please join us at Slought Foundation for:
"Digital Fever: Case Studies in Archiving Art and Poetry"
A Public Conversation with Craig Dworkin, Kenny Goldsmith, Aaron Levy, Darren Wershler-Henry, and Brian Kim Stefans
Thursday April 10, 2003; 6:30 pm - 8:00 pm
A textual correspondence and live critically-oriented roundtable on digital media and the future of archiving, featuring alternating models for archiving poetry and visual media currently operating online.
Information online: http://slought.org/toc/calendar/display.php?id=1144
This event will be recorded; Event is free to the public.
For more information, contact Aaron Levy, Director:
SLOUGHT FOUNDATION
4017 Walnut Street
Philadelphia PA 19104-3513
Ph/fax: 215.746.4239
info@slought.org
http://slought.org/
Biography:
Craig Dworkin edits Eclipse (www.princeton.edu/eclipse) and is the author of _Reading the Illegible_ (Northwestern U.P.), a critical investigation of the politics of misuse. Recent articles have appeared in October, Sagetrieb, and American Letters & Commentary. _Signature-Effects_, a book of visual poetry, is available from Small Press Distribution, and _PARSE_ is forthcoming from Atelos Press. Currently editing the selected poems of Vito Acconci and working on a book tentatively entitled _Misreading: A User's Manual_, he teaches 20th and 21st century avant-gardes in the Department of English at Princeton University.
Kenneth Goldsmith is a poet living in New York City. He is a music critic for New York Press and a DJ on WFMU. He is founding curator of Ubu.com
Aaron Levy is Curator and Executive Director of Slought Foundation, an arts organization, gallery, and archival resource engaging contemporary life through critical theories about art. His curatorial projects include ongoing lecture series, conferences, exhibitions, publications and recordings featuring artists and theorists, also online. As of this event, 8945 minutes (149 hours) of recorded media are currently available online in the Slought Foundaton archives at http://slought.org/
Darren Wershler-Henry, the former senior editor at Coach House Books/www.chbooks.com, is a writer, critic, and the author of two books of poetry, _NICHOLODEON: a book of lowerglyphs_, and _the tapeworm foundry_, shortlisted for the Trillium Prize. Darren is also the author/co-author of five books about technology and culture, including _FREE as in speech and beer_ and _Commonspace: Beyond Virtual Community_. Darren teaches in the school of Communications Studies at York University.
Brian Kim Stefans runs the media mini-empire www.arras.net, which includes arras.net, Free Space Comix: The Blog (www.arras.net/weblog) and Circulars (www.arrras.net/circulars), a multi-author anti-war blog maintained by poets. He is the author of three books of poetry, most recently Angry Penguins (Harry Tankoos, 2000). He edits the /ubu series of poetry ebooks on ubu.com (www.ubu.com/ubu), and his forthcoming book of essays, Fashionable Noise: On Digital Poetics, will be published by Atelos in the April 2003. He is a prolific critic and writes for the Boston Review among other publications. New work, including an interview, will soon be appearing on the Iowa Review web (www.uiowa.edu/~iareview/).
[My latest column for the Poetry Project Newsletter... it was edited quite a bit for print, so this is the director's cut.]
Blogaholism continues to claim victims among the unwitting poetry community, with the roster – international, avant-garde, new formalist, new vineyardist, skanky, Spanish and English – ever growing for the fashionable poetaster’s blogroll. Keep one eye on your prose as you dawdle among: Chaxblog (Charles Alexander), For the Health of It (Tom Bell), Equanimity and Million Poems (Jordan Davis), Overlap (Drew Gardner), Ululate (Nada Gordon), HG Poetics (Henry Gould), Lester's Flogspot (Patrick Herron), Pantaloons (Jack Kimball), Ineluctable Maps (Anastasios Kozaitis), Jonathan Mayhew's Blog, Ich Bin Ein Iraqi (Camille Roy), Possum Pouch (Dale Smith), Mike Snider's Formal Blog, Elsewhere (Gary Sullivan), WinePoetics (Eileen Tabios), Laurable Dot Com, The Tijuana Bible of Poetics (Heriberto Yepez), SpokenWORD (Komninos Zervos).
A few of these predated Silliman’s Blog, one or two even Katherine “the blog queen” Parrish’s squish, but several are mere pups. I will spare you the URLs, but a clickable, up-to-date list can be found at Kasey’s limetree (limetree.blogspot.com). Soon, no poet will be able to read holding a piece of paper because of the stealthily deleterious effects of carpal tunnel syndrome, a brand of disease leading to crooked, John Merrick-esque postures that – like a model’s slumped shoulders in the more swish NYC bars or Orson Welles’ citizen’s paunch that seems to have taken hold of the UK’s sound poetry community – will be imitated by any sensible poseur desirous of seeming of the crowd that “took down Language writing” (Vendler).
Like shrooms after April’s swich licóur, metablogs – blogs that respond to the phenomenon of blogs like Spinal Tap to heavy metal – are beginning to sprout. Contact the folks at mainstreampoetry.blogspot.com to partake in the literary sensation that’s sweeping the world: Mainstream Poetry. (So that Fence thing was smoke and mirrors?) Be one of the grant-funded freshwater bass who write: “Once, on a gusty day, they fell in quatrains, / as unbelieveable as dandelion seed's cosmic pendulum.” On a different front is the mischievous (= Canadian) web program that’s taken on a life, and a bit of cultural capital, of its own, called the “Sillibot.” Using the Tjanting author’s daily posts as seeds, this artificial intelligence generates Flarfish text based on a markov chain algorithm (look it up) which it posts, with nonchalant hysteria, to its blog. Unfortunately, the Sillibot’s creator does not want to publicize the URL just yet as it’s still being tweaked – the paradigm shift awaits -- but in the meantime, you can mess yourself creating automatic sestinas, sonnets pantoums and canzones at Finnish Leevi Lehto’s de rigeur “Google Poem” (www.leevilehto.net/google/patterns.asp).
With some trepidation I hope to further the trend with the introduction of another multi-author blog Circulars (arras.net/circulars), which has a mandate to register in persuasive but concise prose the poetry community’s opposition to the US government’s war policy. As the propaganda states:
“CIRCULARS intends to focus some of the disparate energy by poets and literary critics to enunciate a response to U.S. foreign policy, most significantly the move to war with Iraq. CIRCULARS intends to critique and/or augment some conventional modes of expressing political views that are either entirely analytical, ironic or humanistic. These are all valuable approaches, of course, and not unwelcome on CIRCULARS, but our hope is to create a dynamic, persuasive idiom that can work in a public sphere, mingling elements of rhetoric and stylistics associated with the aforementioned modes -- analytical, ironic or humanistic. CIRCULARS is, in this sense, a workshop -- a place to explore strategies.”
By the time you read this, the war may be several weeks old, and my guess is that the site – the joint creation of several authors acting both as editors and writers – will reflect, for now and for the record, changes in the poetry community’s political priorities, sentiments and activities as they occur.
Beehive (beehive.temporalimage.com), edited by Talan Memmott, has just put up their fifth issue, featuring work by Bill Marsh, Juliet Ann Martin, Marianne Shaneen, Millie Niss, Alan Sondheim and others. Good to see names not previously associated with digipo in the mix – Marianne was lugging around a gaffer-taped Bolex on Roebling St. when last I saw her -- but I’m also pleased to see Juliet Ann-Martin, whose “oooxxxooo” (julietmartin.com) was revelatory for its time, grabbing some spotlight. The Iowa Review Web (www.uiowa.edu/~iareview/mainpages/tirwebhome.htm) also has a new issue, featuring a new piece by William Poundstone, “3 Proposals for Bottle Imps,” an interview with Motomichi Nakamura by Yang-Hae Chang Heavy Industries, and my interview with John Cayley, suggestively titled “From Byte to Inscription” (kind of a like a James Bond film, or maybe Justin Bond).
Free stuff? Well, you can try the new /ubu (“slash ubu,” found at ubu.com/ubu) series of e-books, featuring titles by Kevin Davies, Deanna Ferguson, Richard Foreman, Madeline Gins, Jessica Grim, Peter Manson, Michael Scharf, Ron Sillman, Juliana Spahr, Hannah Weiner, Mac Wellman, and Darren Wershler-Henry (sory, a touch of Lisztmania there…). Go to the recently revamped Duration Press (durationpress.com) for even more free e-books by the likes of Patrick Durgin, Rachel Levitsky, Brian Strang, Elizabeth Treadwell, Rick Snyder and Marcella Durand – really just the tip of the rapidly deepening iceberg (er…), countering the forces of ecological entropy that’s rendering even Antarctica’s historical Borchgrevink's hut a pile of stinking guano. Kudos to Jerrold Shiroma for putting together such an amazing site.
For those who don’t go much for reading, there are the digital anti-war bumper stickers at Masturbate for Peace (masturbateforpeace.com), with minimalist offerings such as “Touch Your Sack, Not Iraq,” and “My Bush Doesn’t Declare War!” And if that’s too much for your impoverished lexicalismus, then it doesn’t get much lighter than this page of Japanese Emoticons (club.pep.ne.jp/~hiroette/en/facemarks/index.html), including such classics of the industry as:
“Here you are, the tea.”
and
“He sends you a kiss with a sound effect.”
Ok, it’s not the Cantos, or even Eistenstein’s Film Sense, but it’s an easy in for those of you who are responding to Eliot Weinberger’s call (arras.net/circulars/archives/000130.html) to learn the names of more Asian poets – I think this one’s called Hiroette.
Dude, and I'll be doing this in Boston after I get back from SF. See the world, that's what they told me when I signed up to become a poet.
70 at MIT
A Cambridge Spring Poetry Festival
April 25th to April 27th 2003
FRI 4/25
7:00 Mike Chiumiento
7:15 Sueyeun Juliette Lee
7:30 David Perry
7:45 Laura Elrick
break
8:15 Mark Lamoureux
8:30 Caroline Crumpacker
8:45 Miles Champion
9:00 Marcella Durand
break
9:30 Anselm Berrigan
9:45 Kim Lyons
10:00 Jim Dunn
10:15 Aaron Kiely
SAT 4/26
11:00 Brandon Downing
11:15 Nada Gordon
11:30 Noah Eli Gordon
11:45 Jacqueline Waters
break
12:10 Sean Cole
12:25 Corina Copp
12:40 Judson Evans
12:55 Michael Brodeur
1:10 Sara Veglahn
break
1:35 Joe Elliot
1:50 Brenda Bordofsky
2:05 Tom Daley
2:20 Tim Peterson
break
2:45 Aaron Tieger
3:00 Dorothea Lasky
3:15 Patrick Doud
3:30 Melissa Goodrum
break
4: Africa Wayne
4:15 John Cotter
4:30 Amy Lipkin
4:45 Matvei Yankelevich
Saturday night
7:00 Nick Moudry
7:15 Christina Strong
7:30 John Colleti
7:45 Mariana Ruiz Firmat
break
8:10 Mitch Highfill
8:25 Karen Weiser
8:40 Jon Woodward
8:55 Sarah Manguso
break
9:20 Brenda Iijima
9:35 Yuri Hospodar
9:50 Cole Heinowitz
10:05 Douglas Rothschild
SUN 4/27
11:00 Rodrigo Toscano
11:15 Eric Baus
11:30 Daniel Nester
11:45 Mytili Jagannathan
break
12:10 Aaron Belz
12:25 Cheryl Clark
12:40 Brian Kim Stefans
12:55 Tracy McTague
1:10 David Baratier
break
1:35 Cris Mattison
1:50 Michael Carr
2:05 Oni Buchanan
2:20 John Mulrooney
break
2:45 Brendan Lorber
3:00 Wanda Phipps
3:15 Sam Truitt
3:30 Jenny Boully
break
3:55 Jack Kimball
4:10 Anna Moschovakis
4:25 Julien Porier
4:40 Gary Sullivan
__________
Jim Behrle
Events Director
Wordsworth Books
30 Brattle St.
Cambridge, MA 02138
(617) 354 5201
fax (617) 354 4674
jim@wordsworth.com
www.wordsworth.com
Hey... I'll be in San Francisco on April 17th and in Santa Cruz the 19th to play (I think) John Ashbery in the play Kevin Killian and I wrote together called The American Objectivists, nominated for five Wedgies in 2001 by the New York Theatre Critics Cockettes Circle. K. Silem Mohammed is playing Louis Zukofsky, and Kevin Killian is playing Celia, Louis' wife (who has a crush on John). Be there or be a square French teacher at Brooklyn Community College.
Poetry and the Inter-arts
April 18-19, 2003.
University of California, Santa Cruz: Porter College
Schedule
Friday, April 18: Prose/poetry
2-3:30: Workshops for Porter students in prose/poetry and performance/poetry:
Camille Roy and kari edwards
Location: Porter College, Bridge galleries
4-6: Panel discussion on "Poetry and The New Narrative" and "Poet's Theater":
Robert Gluck, Camille Roy, kari edwards, Dodie Bellamy, Kevin Killian.
Location: Porter College, Fireside Lounge
6-7:30: Dinner for poets + viewing of Konrad Steiner's film, Way,
based on Leslie Scalapino's poem of the same name.
Location: Porter College, Fireside Lounge
8:00-9:30: Reading: Robert Gluck, Camille Roy, Dodie Bellamy, kari edwards
Location: Porter College, Dining Room
10:00: Drinks and dessert
Location: Pearl Alley, downtown and upstairs from the queer dance bar, The Dakota.
Poets encouraged to spend the night and enjoy a Saturday in Santa Cruz, and join us for tomorrow's events. Please let me know if you would like me to make reservations for you at the Ocean Pacific Lodge, by the beach and boardwalk.
Saturday, April 19: Performance/poetry
4:30-6:00: Transcontinental Poetry Reading: a telecast live reading dedicated to Kenneth Koch: David Antin, Andrei Codrescu, Maria Damon, Kenward Elmslie, Forest Gander, Roxi Hamilton, Anselm Hollo, Lisa Jarnot, Ron Padgett, Keith Taylor, Anne Waldman,
Location: Porter College, Dining Room
6:30: Reception. Food and film before "Poet's Theater." Eat and mingle on the patio overlooking the ocean. Buy authors' books and have them signed. Wander into the Fireside Lounge next door and watch the films Way, a film of Leslie Scalapino's poem by the same name, and Cocteau Cento , a film drawing on the work of Jean Cocteau.
7:30-9: Poet's Theater: productions by Kevin Killian, Dhaia Tribe, and others.
Location: Porter College, Dining Room
I'll be in Philadelphia on April 10th for this all-guy event... please come if you're in the area, even if you're not a guy.
Presenting:
Craig Dworkin
Kenny Goldsmith
Aaron Levy
Louis Cabri
Darren Wershler-Henry
Brian Kim Stefans
Public Conversation: "Digital Fever: Case Studies in Archiving Art and Poetry"
Event Date: 2003-04-10 / 6:30 pm - 8:30pm
http://slought.org/toc/calendar/display.php?id=1144