Saturday, May 11, 2013

 


Recently Received

Books (Poetry)
Author Not the Point, Poetry is Like Golf We Each Play for Our Own Reasons and Sometimes Tiger Woods Appears, Mission Cleaners, San Francisco, no date listed (but certainly 2013), this book comes mostly without text but containing excerpts from the other two Mission Cleaner books on this list.
Ammiel Alcalay, From the Warring Factions, introduction by Diane di Prima, with a conversation with Benjamin Hollander, edited with an afterword by Fred Dewey, re:public / UpSet Press, Los Angeles / New York, 2012
Will Alexander, Kaleidoscope Omniscience, edited by Daniel Stanforth, Skylight Press, Cheltenham, UK, 2013
Pierre Alferi, Night and Day, translated by Kate Lermitte Campbell, La Presse, Iowa City & Paris, 2012
Charles Bernstein, Recalculating, University of Chicago Press, Chicago, 2013
Clark Coolidge, A Book Beginning What and Ending Away, with essays by Tom Orange and Kit Robinson, Fence Books, Albany, NY, 2012
Mark Cunningham, Helicotremors, Otoliths, Rockhampton, Queensland, Australia, 2012
Alan Davies, ODES & fragments, ellipsis press, Jackson Heights, NY, 2013
Robert Elstein, Helen Arms, Green Zone Editions, location not listed (but Brooklyn), 2013
John Godfrey, Tiny Gold Dress, Lunar Chandelier Press, Brooklyn, 2012
Kenneth Goldsmith, Seven American Deaths and Disasters, powerHouse Books, Brooklyn, 2013
Jane Gregory, My Enemies, The Song Cave, Northampton, MA, 2012
Alfred Starr Hamilton, A Dark Dreambox of Another Kind, The Song Cave, Northampton, MA, 2012
Nathan Hoks, The Narrow Circle, Penguin, NYC, 2013
Lisa Jarnot, Joie de Vivre: Selected Poems 1992-2012, City Lights, San Francisco, 2013
Burt Kimmelman, Gradually the World: New and Selected Poems, 1982 – 2013, BlazeVOX Press, Buffalo, 2013
Joel Lewis, North River Rundown, Accent Editions, Chester, NY, 2012
Kimberly Lyons, Rouge, Instance Press, Berkeley, Boulder & Brooklyn, 2012

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Friday, May 10, 2013

 






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Thursday, May 09, 2013

 


I’m with language
Amiri Baraka
doesn’t like Angles of Ascent:
A Norton Anthology of
Contemporary African American Poetry
A response to Baraka
Talking with Bhanu Kapil
A terrific new poem from
j/j hastain
Eileen Myles:
Painted Clear, Painted Black

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Wednesday, May 08, 2013

 


A reading from
with
 & Brian Teare,
with a voice-over introduction by GC Waldrep

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Tuesday, May 07, 2013

 



@ the University of Hawaii, Manoa, 2001

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Monday, May 06, 2013

 
 

If I see another motion picture in 2013 that is as remotely as intelligent or mature as Upstream Color, it will be a very good year for movies. One can go years between films this well-conceived & executed. It seems to have done well in an art-house cinema in New York, but the self-distribution plan by writer-director-lead actor-producer-composer-editor-cinematographer Shane Carruth found it playing in the basement auditorium of a science museum in Philadelphia where I  caught it on the second day of its release showing to a crowd in high single digits. This in spite of a near-rave review from the Philadelphia Inquirer just one day before. Carruth, who settled on the do-it-yourself distribution scheme even before the film showed at Sundance, is undoubtedly correct in his presumption that the old model for getting films to people is breaking down for films just as much as it is for books, music and just about every other intellectual endeavor (heads up, art dealers – they’re coming for you). But his cobbled-together alternative really isn’t working unless the stream-or-download distribution that starts – hey  – this Tuesday catches on. I’m here to tell you it’s worth spending twenty bucks, give or take, to see something extraordinary. But if it’s on a big screen, do that – even if it’s in the basement of a science museum.  As film, Upstream Color is gorgeous. And the sound is to cinema what Red Desert once was to the use of color.
I could recount the narrative of Upstream Color, but you wouldn’t understand it because the protagonists, played by Carruth and Amy Steimetz, don’t and the film really wants you to feel their sense of confusion even when it flirts with omniscience. Steven Soderbergh has been quoted as calling Carruth the “illegitimate offspring of David Lynch & James Cameron,” but the directors who seem to be the hovering godparents of this project are Wenders, Tarkovsky & early Polanski. Envision, if you will, Wings of Desire blended with Rosemary’s Baby, seasoned with just a sprinkling of Babe (& Babe in turn as read through Soylent Green), all filtered through the depressed lens of the driving sequence in Solaris. Did I say you wouldn’t understand it? Now consider that much, maybe all of this hinges on the text of Thoreau’s Walden. 

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Sunday, May 05, 2013

 



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