Saturday, July 24, 2010
Friday, July 23, 2010
Video clips from
Talon Books’ 2010 Cross-Canada Poetry Tour
with
Frank Davey, Stephen Collis, George Bowering,
Ken Norris, derek beaulieu, Ken Belford,
Weyman Chan, & Garry Thomas Morse
Labels: Canadian Poetry, Readings
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Thursday, July 22, 2010
Recently Received
Books (Poetry)
Liam Agrani, Volume One (Selected Anonymous Marginalia), BlazeVOX, Buffalo, 2010
Brandon Brown, Wondrous Things I Have Seen, Mitzvah Chaps, Lawrence, KS, 2010
Elizabeth Colen, Money for Sunsets, Steel Toe Books, Bowling Green, KY, 2010
Chris Daniels, porous, nomadic, airfoil, Portland, OR, 2010
Thomas Fink, Yinglish Strophes 1 – 19, Truck Books, New York, 2010
Allen Fisher, Dispossession and Cure, Reality Street, Suffolk (now Hastings), 1994
Wade Fletcher, Conditions Which, Pied-à-Terre, Oakland, 2010
Guillevic, Geometries, Englished by Richard Sieburth, Ugly Duckling Presse, Brooklyn, 2010
Christian Hawkey, Ventrakl, Ugly Duckling Presse, Brooklyn, 2010
Crag Hill, 7 X 7, Otoliths, Rockhampton, Australia, 2010
Brandon Holmquist, The Sorrows of Young Worthless, Truck Books, New York, 2010
Omar Husain, Do Something, Green Zone, New York, 2010
Andrew Levy, Cracking Up, Truck Books, New York, 2010
Gian Lombardo, Who Lets Go First, Swamp Press, Northfield, MA, 2010 (includes a chapbook of instructions for throwing a hexagram with three coins attached via red ribbon)
John Martone, Cathartes aura, no publisher listed, Charleston, IL, 2010.
Frank Parker, Win Po: A Work in Progress, Obscure Press, Tucson, 2010
Julian Henry Lowenfeld, My Talisman: The Poetry & Life of Alexander Pushkin, translated & with a foreword by Julian Henry Lowenfeld (bilingual editon), Green Lamp Press, New York, 2010
Denise Riley, Selected Poems, Reality Street, Hastings, 2000
Robert Sheppard, The Lores, Reality Street, London (now Hastings) 2003
Jeremy Sigler, Crackpot Poet, The Brooklyn Review & Black Square Editions, Brooklyn, 2010
Carol Watts, When Blue Light Falls 2, Oystercatcher Press, Norfolk, UK, 2010
Joseph Wood, Gutter Catholic Love Song, Mitzvah Chaps, Lawrence, KS, 2010
Labels: Recently Received
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Wednesday, July 21, 2010
The Fugs
(Edward Sanders, Steve Taylor, Coby Batty & Scott Petito)
sing Tuli Kupferberg’s Morning, Morning
at Tuli’s memorial,
July 17, 2010, at St. Mark’s Church.
Labels: Beat Poetry, The Fugs, Tuli Kupferberg
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Tuesday, July 20, 2010
Jennifer Moxley:
Fragments of a Broken Poetics
Poetry, language & the visual arts
Innovative Women’s Poetry at Greenwich
Dorothea Lasky’s Poetry is Not a Project
Talking with Norman Fischer
Marthe Reed & Chris McCreary
review & interview one another
Talking with Rae Armantrout
Rae Armantrout
vs. the velvet rope line of ellipticism
Obamas & Armantrout
at the National Book Festival
Designing a page
fit for a winner of the Pulitzer
Reading John Wieners
Chris Tysh, from Molloy, the Flip Side
Talking with Ken Edwards
Wayne Montecalvo: 4 performance videos
Rethinking Lucia Joyce
Steve Fama on Garrett Caples
Ange Mlinko
on Anne Finch,
Countess of Winchilsea
Talking with Marie Ponsot
Chris Stroffolino’s Light as a Fetter
Remembering Antonio Giarraputo
If the Royals (KC, that is) were poets
Seth Abramson’s School of Quietude:
poems (if not poetry) at the end of history
& furthermore…
Todd Swift:
This is really about the lyric Self
Are we smart enough for contemporary art?
Charlie Rose by Samuel Beckett
John Latta on New Poetry 1963
Basil King @ 75
Ugly Duckling turns into digital swan
Talking with Robert Hass
Read more »Labels: links
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Monday, July 19, 2010
To demonstrate The Saragossa Manuscript’s status as a cult classic, all one need do is to point out that this 1965 film by Wojciech Has was being restored at the Pacific Film Archive at the behest of Grateful Dead guitarist Jerry Garcia when he died, and that Martin Scorsese stepped in at that point to ensure the project’s completion. The so-called “Polish National Epic,” written of course in French & set entirely in Spain, is the shaggiest of shaggy dog narratives, as one character after another sits down or leans forward to tell you a story, taking you further & further into a nested sequence of interlocking narratives that never quite works it way all the back to the original frame tale. It was exactly the sort of flick that film fans as diverse as Garcia & Scorsese would have gone to see again & again, partly because it was (& is still) such a delightful head trip, and because one inevitably saw new material on each repeated exposure.
While the network of little repertory cinemas that foreign & indie films depended on for distribution in the 1960s barely exists a half century later, The Saragossa Manuscript’s spiritual grandchild showed up in theaters late last week under the title Inception. Like Manuscript, it’s the wooliest of narrative constructions, a Rube Goldberg machine of film tropes, not to be confused with any attempt to use cinema as a medium for serious thought. Also like Manuscript, it’s a film that exudes its love for the possibilities of its own medium & feels at moments like a test: just how many layers of narrative can one keep separate but simultaneous in a film. Try this:
Labels: Film
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Sunday, July 18, 2010
