Friday, September 19, 2008


I have been asked more than once this week why I do my link lists the way I do – once or twice per week, rosters of links that for the most part come from recent news stories, blog notes that are likewise recent (and often more thoughtful & well-researched as anything “in the media”), plus resources that are either new to the web or at least new to me. There are usually around 100 links and there have been up to around 160 during an especially busy time. Most directly relate to poetry, but close readers will note that I also include news of the publishing industry, in terms of the publishers, the technology and the distribution network (both bookstores & libraries) and likewise news concerning language itself. Then there are usually some links to the larger arts world, to contemporary philosophy & the human sciences, and – rarely – to politics.

In my links on poetry & poetics per se, you’re as apt to read a blog note concerning a recent chapbook by somebody you (and maybe I also) never heard of as an interview with Richard Wilbur, an online newspaper article concerning a poet-politician from the South Asian subcontinent or Africa as a lengthy discourse on the nature of conceptual poetics. There’s a reason – or at least a rationale – to all this.

What I want to provide, first of all, is context. With over 10,000 publishing poets in the English language, there is frankly a lot going on. A lot is going on elsewhere as well. Whether it’s cowboy poetry in Elko, Nevada, the National Slam in Madison, a conference in Nairobi (or Vancouver), Andrew Motion’s whining that being Laureate stopped him from writing (as good an argument for that post as I’ve heard, frankly), or somebody’s spirited attack on conceptual poetry, slow poetry, flarf, whatever – it’s all poetry. Or at least poetry related.

Nobody can read 10,000 poets & keep them even remotely straight in their head, or least nobody short of a Rain Man-type savant. But certainly it makes some sense to at least have some idea what’s going elsewhere, whether elsewhere is the wildly popular reality-TV competitions Prince of Poets and Millions Poets in the Middle East, or the latest prize awarded to a School of Quietude poet in the Middle West.

So this doesn’t mean some of my links won’t be appalling – tho we might not concur on exactly which parts. It does mean that we ignore those aspects of poetry and its “scene” we choose to shunt aside at our own peril – the risk being that, in our own selected ignorance, we manage to make ourselves irrelevant. We could each pretend to be above it all, but frankly one Auggie Kleinzahler is already one too many.

One thing that the more institutional approaches to the dissemination of news about poetry is that, by their very institutional nature, they tend to be more wedded to a single view, that of the School of Q. Even a wannabe site like Poetry Daily demonstrates this seven times a week – they cover the spectrum from A to B as tho C to Z just didn’t exist. And they never give voice to  their partisan perspective, but rather act as tho it were the water & their readers so many fish. To get your news from their news listing is just to remain ignorant.

Jilly Dybka’s Poetry Hut does a much better job, because it’s much more eclectic, but it is restricted by offering far too little of what is out there.

So I want you to know that the folks in Lowell are celebrating the Beats, to know that Evie Shockley has a good reading of Ed Roberson’s work, to read an interview with Adonis, to read Dragnet haiku or take note of the latest collection of Jack Gilbert imitations by Linda Gregg, not to mention seeing the governor of New Jersey standing by a cut-out of William Carlos Williams. It’s all part of the gumbo as Ishmael Reed might put it. And the richer the gumbo the better.


Thursday, September 18, 2008



Recently Received


Books (Poetry)

Harold Abramowitz, Dear Dearly Departed, Palm Press, Long Beach 2008

Andr’s Ajens, Quase Flanders, Quase Extremadura, translated by Erín Moure as translations from south to north with notes, La Mano Izquierda, Victoria, BC 2008

José Felipe Alvergue, Us Look Up / There Red Dwells, P-Queue, Queue Books, Buffalo 2008

Joe Amato, Pain Plus Thyme, Factory School, Queens, NY 2008

Anne Boyer, Art is War, Mizvah Chaps, Lawrence & Boulder 2008

Anne Carson, Short Talks, Brick Books, London Ontario 1992

Jan Conn, Jaguar Rain: The Margaret Mee Poems, Brick Books, London Ontario 2006

Jack Crimmins, The Rust Life, Earthworm Press & Projects, San Francisco 2008

Mark Cunningham, Body Language, Tarpaulin Sky Press, Grafton, VT 2008

Don Domanski, All Our Wonder Unavenged, Brick Books, London Ontario 2007

Marshall D. Dury, The Inside of a Load-Bearing Wall, self-published, “just outside of Boston,” 2008

Kate Eichorn, Fond, BookThug, Toronto 2008

K.S. Ernst & Sheila E. Murphy, Permutoria: Visio-Textual Art, Luna Bisonte Prods, Columbus 2008. Available also as a download.

Adam Fieled, When You Bit…, Otoliths, Rockhampton, Australia 2008

Lisa Forrest, To the Eaves, BlazeVox Books, Buffalo 2008

Elizabeth P. Glixman, A White Girl Lynching, Pudding House Chap Books, Columbus 2008

Mark Goldstein, After Rilke: To Forget You Sang, BookThug, Toronto 2008

Phil Hall, An Oak Hunch, Brick Books, London Ontario 2005

Charles O. Hartman, New & Selected Poems, Ahsahta Press, Boise 2008.

L.A. Howe, NTR PIC E ST R, Little Scratch Pad Editions, Buffalo 2007

Kent Johnson, Homage to the Last Avant-Garde, Shearsman Books, Exeter, U.K. 2008

Robert Kroetsch, The Ledger, Brick Books, London, Ontario 2008

Dennis Lee, Riffs, Brick Books, London Ontario 1995

Karen An-Hwei Lee, Ardor, Tupelo Press, Dorset VT 2008

Travis MacDonald, The O Mission Repo, Fact-Simile, Denver 2008

Mao Zedong, The Poems of Mao Zedong, translated by Willis Barnstone, University of California Press, Berkeley 2008

Kristianne Meal, TwentyTwo: First Pallet, Little Scratch Pad Editons, Buffalo 2007

Catherine Meng, Dokument, Petrichord Books, Cambridge, MA 2008

W.S. Merwin, The Shadow of Sirius, Copper Canyon, Port Townsend 2008

Geraldine Monk, Ghost & Other Sonnets, Salt, Cambridge, UK, 2008

Marianne Moore, A-Quiver with Significance: Marianne Moore 1932 – 1936, edited by Heather Cass White, ELS Editions, Victoria BC 2008

Dennis O’Driscoll, Reality Check, Copper Canyon, Port Townsend 2008

David O’Meara, The Vicinity, Brick Books, London Ontario 2003

Doug Nufer, We Were Werewolves, Make Now, Los Angeles 2008

Michael Ondaatje, Elimination Dance, translated into the French as La danse éliminatoire by Lola Lemire Tostevin, Brick Books, London Ontario 1991

Meredith Quatermain, Matter, BookThug, Toronto 2008

James Reaney, Souwesto Home, Brick Books, London Ontario 2005

Stephen Rodefer, Call It Thought, Carcenet, Manchester, UK 2008

Mercedes Roffé, Like the Rains Come: Selected Poems (1987 – 2006), translated by Janet Greenberg, Shearsman, Exeter U.K. 2008

Kathleen Rooney, Oneiromance (An Epithalamion), Switchback Books, Chicago 2008

Andrew Schelling, Old Tale Road, Empty Bowl, Port Townsend, 2008

Robyn Schiff, Revolver, Kuhl House Poets, University of Iowa Press, Iowa City 2008

Karen Solie, Modern and Normal, Brick Books, London Ontario 2005

Chuck Stebelton, A Maximal Object, Mizvah Chaps, Lawrence & Boulder 2008

Jordan Stempleman, The Travels, Otoliths, Rockhampton, Australia 2008

Stephanie Strickland, Zone: Zero, Ahsahta Press, Boise 2008. Includes CD with digital versions of two of the sequences that appear in the print edition.

John Taggart, There Are Birds, Flood Editions, Chicago 2008

Shelly Taylor, Peaches the Yes Girl, Portable Press at Yo-Yo Labs, Brooklyn 2008

John Tranter, The Anaglyph / Brian Henry, John Tranter’s New Form(alism): The Terminal, no publisher listed but prepared for the Poetry and the Trace conference, Victoria, Australia 2008

Lourdes Vázquez, Samandar: Libro de Viajes / Book of Travels, translated by Enriqueta Carrington, TséTsé, Buenos Aires 2007

Fred Wah, Isadora Blue, La Mano Izquierda, Victoria, BC 2008

Emily Warn, Shadow Architect, Copper Canyon, Port Townsend 2008

Tom Yorty, Words in Season, Little Scratch Pad Editions, Buffalo 2007

Jan Zwicky, Songs for Relinquishing the Earth, Brick Books, London Ontario 1998


Books (Poetry Anthologies)

Jeff Hilson, The Reality Street Book of Sonnets, Reality Street Editions, East Sussex, U.K. 2008. Includes Bob Cobbing, Edwin Denby, Bern Porter, Mary Ellen Solt, Jackson Mac Low, Ebbe Borregaard, John Clarke, Ted Berrigan, Anselm Hollo, Beverly Dahlen, Kathleen Fraser, Tom Raworth, Clark Coolidge, Peter Riley, Stephen Rodefer, Lyn Hejinian, Rachel Blau DuPlessis, Ron Padgett, John Welch, Adrian Clarke, Paul Dutton, Robert Adamson, Thomas A. Clark, Allen Fisher, Geoffrey Young, Bernadette Mayer, Alice Notley, Steve McCaffery, Aaron Shurin, Pam Brown, Bill Griffiths, Alan Halsey, Lawrence Upton, Ken Edwards, Jonathan Brannen, Geraldine Monk, Harryette Mullen, William Fuller, Robert Sheppard, Michael Leggott, Juliana Spahr, Michael Farrell, Eleni Sikelianos, Laynie Browne, Lisa Jarnot, more.

C.S. Perez & Todd Melicker, The Lone Mountain Anthology, 2008, Achiote Press, Berkeley 2008. Includes Susanne Dyckman, Amanda Field, Karen Pehlps, Val Witte, Alexandra Mattraw, Hannah Maggiora Wallstrum, Jennifer Reimer, more.


Books (Other)

Dan Beachy-Quick, A Whaler’s Dictionary, Milkweed Editions, Minneapolis, 2008

Susanne Christensen & Audun Lindholm, Borders, Chain * Links, Philadelphia & Oakland, 2008. Includes Ida Börel, Matias Faldbakken & Das Beckwerk

Stephen Collis, Through Words of Others: Susan Howe and Anarcho-Scholasticism, ELS Editions, Victoria BC 2008

Allen Ginsberg, The Letters of Allen Ginsberg, edited by Bill Morgan. Da Capo Press, Cambridge, MA 2008

William Shakespeare, Coriolanus, edited by R.B. Parker, The Oxford Shakespeare, Oxford University Press 2008

William Shakespeare, Henry IV, Part One, edited by David Bevington, The Oxford Shakespeare, Oxford University Press 2008

William Shakespeare, Macbeth, edited by Nicholas Brooke, The Oxford Shakespeare, Oxford University Press 2008

William Shakespeare, Othello, edited by Michael Neill, The Oxford Shakespeare, Oxford University Press 2008

William Shakespeare, Richard III, edited by John Jowett, The Oxford Shakespeare, Oxford University Press 2008



Barrellhouse, no. 6, 2008, Washington, DC. Includes Bill Wyman, Denise Duhamel, Amy Holman, Philip Jenks, Amy Lemmon, Elise Miley, Lev Oborin, Gavin Pate, Laura Solomon, Matvei Yankelevich, more.

Cannot Exist, no. 2, May 2008, Madison. Includes Alan Davies, Judith Goldman, Christina Strong, Gregory Betts, Andy Gricevich, Ray Hsu, more.

Cannot Exist, no. 3, September 2008, Madison. Includes Carrie Etter, Sheila E. Murphy, Lawrence Giffin, Kevin Killian, Mark Lamoureux, more.

Hawk & Whippoorwill:Poems of Man & Nature, vol. 1, issue 1, Summer 2008. Boston. Includes Robert Riche, Jane Levin, C.E. Chaffin, Temple Cone, Ed Minus, more.

Mandorla: New Writing from the Americas, no. 11, 2008. Normal, IL. Includes Heriberto Yépez, Roberto Tejada, Urayoán Noel, Renato Gómez, Rose Alcalá, Yusef Komunyakaa, Rensee Gladman, Rochelle Owens, Osvaldo Lamborghini, Gail Schneider, Ramón Garcia, Susan Briante, Francisco Aragón, Dale Smith, Robert Duncan, Valerie Martínez, Lili Maya, Kristin Dykstra, more.

Mantis, no. 7, Summer 2008, Stanford. Special Heidegger & Char feature includes Mark Causey, R.D.V. Glascow, Stuart Kendal, Noreen Khawaja, more. Also includes Marie Etienne, Marilyn Hacker, Rusty Morrison, Peter O’Leary, Elizabeth Robinson, Mathias Svalina, János Marno, more.

Noon: Journal of the Short Poem, no. 6.Summer 2008. Tokyo. Include Ravi Shankar, Jane Hirshfield, David Miller, Uda Kiyoko, Robert Beary, Halvard Johnson, Lionel Kearns, Keiji Minato, Barry Schwabsky, Ruth Lepson, Elizabeth Robinson, Robin Magowin, other.

Open Letter, Thirteenth Series, No. 6, Summer 2008. Strathroy, Ontario . New Canadian Poetries issue, guest-edited by rob mclennan. Includes Nicole Marcotić, Allesandro Porco, Adam Seelig, Jill Hartman, Adeena Karasick, Marck Cochrane, Lisa Robertson, Donato Mancini, Kevin McPherson Eckhoff, Derek Beaulieu, Colin Martin, jay millAr & Tim Conley, Jonathan Ball & Max Middle.  

Phoebe, vol. 37, no. 2, Fall 2008. Fairfax, VA. Includes Nora Almeida, Anselm Berrigan, Trina Burke, Ben Doller, Dan Ford, Avital Gad-Cykman, Chris Gavaler, Eryn Green, Henry Hart, K.A. Hays, Mel Nichols, The Pines, Dan Pinkerton, Ryan Walker, Mike Young, more.

The Poker, no. 8, Cambridge, MA, 2008. Includes Rachel Blau DuPlessis, Richard Roundy, Anne Boyer, Noah Eli Gordon, Landis Everson, Carol Szamatowicz, Douglas Rothschild, John Wilkinson, Pattie McCarthy, Anselm Berrigan, Robert Kelly, Jennifer Moxley, more.

P-Queue, no. 5, 2008, Buffalo. Includes Eric Elshtain, Ariel Goldberg, Eli Drabman, Julia Drescher, Srikanth Reddy & Dan Beachy-Quick, Linda Russo, more.

Vanitas 3: Popular Song, New York, 2008. Includes Jim Dine, Barry Schwabsky, Larry Sawyer, Rob Halpern, Chis Pusateri, Stephen Ratcliffe, Phoebe Wayne, Charles North, Laura Moriarty, Susan Wheeler, Jen Olin, Elaine Equi, David Trinidad, Anne Waldman, Michael Rothenberg, Louis Armand, Heller Levinson, Paul Pines, Cliff Fyman, Scott Bentley, Ray Di Palma, Bill Berkson & Barrett Watten, more.


Other Media & Formats

Ed Baker, Face Turned to the South / Face Turned to the Wall, Red Ochre Press Broadside, Takoma Park, MD, 2000. Single sheet folded to make a “four-page book.”

Dan Beachy-Quck & Srikanth Reddy, Möbius Crowns, P-Queue, Buffalo, 2008. Two chapbooks (one entitled Möbius Crowns, the other with a line drawing of a Moebius strip for a title, containing what appear to be collaboratively written poems, contained within a fragile brown paper boxlike thingee bound by two bands of paper, one containing the title, the other the names of the authors).

Larry Ochs / Rova (Special Septet & Orketrova), The Mirror World (for Stan Brakhage), Metalanguage, Berkeley, 2007. Double CD.


Wednesday, September 17, 2008


Of the 19 authors whose books I read in judging the Poetry Society of America William Carlos Williams’ award that I thought deserved greater praise & attention, Joe Wenderoth’s name comes last alphabetically, tho that’s no reflection on No Real Light, a book that is full of sparkle. Many of the poems here come across as a post-NY School aesthetics updated to a less urban landscape, e.g.

What Does Death Insure

death insures
that one will never hear
the sound of a small plane
sketched out in the sand
of a windless summer afternoon


Operation Enduring Freedom

like an eagle
into the sun

over frozen fields

bone-fed grasses

or, the poem from which this book takes its title,

King Hiram

there is
            where all this rings true

no real light

Poem after poem here jumps out at you like these, crafted with an exact eye & a strong sense of when to stop. Not that they’re perfect – that first poem would have been considerably stronger had the term “summer” been dropped from its final line – but because they evidence a mind completely awake to the world.

Which is why, when suddenly it dips into the clichés of the School of Quietude, you wonder what’s going on:

Twentieth-Century Pleasures

A woman has two children:
one is seven, a girl with Down syndrome,
and one is five, a deaf-mute boy.
Every day, the woman’s husband beats her
and calls her a lazy whore.
After a few years
the woman moves back into her mother’s house.
She locks the doors when her mother is at work,
but her husband, having promised to kill her,
gets in through a basement window.
When she hears and meets him in the basement,
pleading for her life,
he breaks her spine with a hammer.
As the two children watch from the steps,
he shoots her in the back of the head,
then turns the gun on himself.
The seven-year old, the girl with Down syndrome,
runs four blocks to the police station.
When the police arrive at the house,
the five-year old,
the poet,
a deaf-mute boy,
is kneeling by his mother’s head,
pressing the pool of blood back toward her.
They pull him away and he doesn’t resist.
They think he has been playing there
in a pool of his mother’s blood.
That is truly what they think:
he was playing in a pool of his dead mother’s blood.
Later, with his bloody hands
he says things they cannot understand,
and they know then, at least,
that he was not playing.

Think for a minute how Charles Reznikoff would have handled this same narrative & you can see all the elements of melodramatic overwriting that come into play here, up to & including putting the poet onto a line all its own complete with italics. All we need are violins.

And this is the real issue of No Real Light – it has some of the best writing I’ve come across this year, but it also has more than a few real clunkers like the above. Of the 19 books I was wowed by in the contest (out of an original pool of 150), it easily is the most uneven. If this wasn’t his fourth book & he wasn’t already an associate professor at UC Davis, I’d be inclined to think that Wenderoth was a beginner who didn’t know how to put a manuscript together. That may still be the case, but at this point it’s inexcusable.

Reading Wenderoth’s web page at UC Davis, I get the sense that he may be more interested in poetry that is performable – in the Henry Rollins sense – than in the printed page, which may explain this puzzle. A poem like ”Twentieth-Century Pleasures” just might work very well at a reading to an audience inexperienced in contemporary poetry – those short pieces would likewise – but it does so for all the reasons that make poetry as performance an inherently debased art. The exact same qualities that would make you cringe at an episode of Matlock work very well at pulling forward stock emotions from audiences who aren’t trained to recognize such manipulations. There’s a reason why so many poets who participate in slams are notoriously unread. This might not be slam material, but the dynamics are fundamentally the same.

So Wenderoth is a puzzle. Eighty percent of this book is tremendous, maybe even 85. But I wonder why he doesn’t know to separate out work that simply reveals the gaping weaknesses of a performance-oriented poetics. I can envision, say, a half dozen very good books by him, followed perhaps by one collection of such performance pieces that are as lurid & mawkish as one might imagine. That would be a strange but do-able approach. Wenderoth’s current strategy undercuts much of what is excellent in this book.


Tuesday, September 16, 2008


Chad Feldheimer marches to a different drum machine

One wonders exactly what motivates any artist to choose a particular project. It’s inscrutable enough if one is an individual artist. Why does one person write The Pisan Cantos and the next one a suite of haiku, or sonnets, or flarf? When capital gets involved, it gets funkier in a hurry. Why, for example, is Ed Ruscha a painter, a visual artist,  and not a writer? Why this word & not that one? Why this context & not that one? Why don’t we think of Ruscha when we consider the history of minimalism & the works of, say, Bob Grenier & Aram Saroyan?

These sorts of questions get even murkier when both capital & collaboration are involved. One reason that Once may be the best movie musical ever filmed, give or take Hard Days Night, is that it involved a relatively small body of collaborators and almost no budget whatsoever. The party scene was filmed in the flat of the film’s star, Glen Hansard. The older woman who sings is, in fact, his mother. The whole movie was made for just $100,000, done off of credit cards, and the filmmakers never had permits to shoot on the streets. No wonder Hansard is believable as a busker.

At the other end of the scale, way way on the other end, we have the bloated star fests like Armageddon or Ocean’s 7-eleven where far too many name actors get fat checks to mail in performances with scripts that they seem barely to glance at. At least Sinatra & the Rat Pack didn’t pretend to be thespians. They just needed something to do in the daytime before the clubs opened for the evening in Vegas.

Burn After Reading sure has that feel to it. There’s Tilda Swinton, one of the best actresses anywhere, imitating her mean bitch role from Michael Clayton, but with none of the having-second-thought nuances. There’s George Clooney, glad-handing (and more) every woman he meets with exactly the same wide-eyed big smile con-artist stare he used in O Brother, Where Art Thou? (Instead of pomade, he’s switched to asking everybody what their floors are made of.)  Then there is Brad Pitt, better known these days as the afterthought in Brangelina, doing a send-up of sorts of his role as the clueless stud in Thelma & Louise. He’s really quite good, in a horrific sort of way. At least Frances McDormand isn’t reprising her laconic pregnant police chief from Fargo. But that’s because she’s channeling William Macy’s part from that same film. Indeed, the only actor here who seems to have bothered to act in this movie is John Malkovich. He’s tremendous as the tweedy CIA analyst with a giant bow-tie, right out of an Ivy League secret society (we’re treated to a Princeton reunion song in its entirety). Except that he’s a former CIA analyst & none too happy about this former stuff. And then something happens.

Now all of this nonsense doesn’t matter much because these squirrels have been set loose in what is pretty close to a perfect Rube Goldberg device, the narrative as sketched out by from the Brothers Coen, fresh off their second best-picture Oscar for No Country for Old Men & happy to sweep up something like nine digits of cash with the first big film of the autumn. One suspects that their story board looked just a little like one of Anthony Braxton’s scores. If the year’s movies were a multi-course meal &the summer fare were a bunch of oddly rich too sweet fare, like a giant bowl of ice cream right before the entrée of the Oscar contenders when winter comes on, then Burn After Reading would be the perfect amuse bouche, the tiny morsel served to cleanse the pallet of the heavy aftertaste of Batman et al. That’s a very modest goal, but the Coen Bros. wind their little contraption up very very tight. It’s fun to watch it spin through the motions.

There are two premises behind this movie. The first is a series of coincidences as to who knows who socially and in what roles, the makings of many a screwball Hollywood comedy. The second is a presumption about human nature – everyone, with just one exception, is venal, is screwing one another, terrified of commitment (if male) or about to file for divorce (if female). The only good person here – tho we don’t get to see too much of him – is a lovelorn defrocked Greek Orthodox priest played by Richard Jenkins, a superb character actor (he was the dead father on Six Feet Under).

So it’s not a thriller of good guys vs. bad guys, because there are no good guys really, just some folks with whom you might be more apt to identify (wide-eyed Clooney, wide-eyed McDormand) than with others (Malkovich & Swinton squint a lot). A lot of what makes this film work are the small bits of stage business or details that are ancillary at best to the main narrative, and which are often never explained, like why Clooney is interested in everyone’s floors & why he has to guess what they are (the people he asks are never really certain, like, is that really white pine?), or the large purple pillow he lugs around in a couple of scenes – apparently a sex toy of sorts, in that it allows the partner on the bottom to raise their hips & pelvis upward to interesting angles – but which nobody ever uses, mentions or otherwise identifies. Or that little invention Clooney’s constructed in his basement. I don’t believe my wife has laughed that loudly in a movie theater since at least A Mighty Wind. When this film comes out in DVD, I’m going to have to pay the closet confrontation scene frame by frame to see if it really is “muscle memory” that drives the plot. Malkovich also has a number of these bits as well, such as his various descriptions as to why he “left” the Agency, his attempts at dictating his memoirs and the great scene with his dad, who says nothing, because – we suspect – he couldn’t if he tried. We never do learn why Olson was in that meeting, or what Olson does or anything about him? The elements that articulate Malkovich’s depression – how can you be committing murder in your underwear & bathrobe that late in the day? – are all well done. There are also some details about Malkovich controlling his drinking by waiting until 5:00 pm to begin & by measuring just how much he pours into a glass that are smart & knowing as well as funny.

So this is a lark, as if the Coen Brothers want to show audiences that a comedy can actually be intelligent & funny, unlike, say, the drivel put out by so many former Saturday Night Live cast members. Not everybody gets out alive – it is a Coen Brothers film after all – but at least the brothers had the taste to leave their wood chipper at home. Now, one wonders, what if these guys actually decided some day to make a movie. Like something serious along the lines of Crash or Traffic or Nashville or Syrianna. Their ensemble-governing skills are perfectly suited to the task, but could they figure out where & when to tone it down? It would even be fun to see them attempt a chase-thriller like one of the Bourne films or the Bond franchise. You know that would be fun. Which brings me back to my ultimate question about Burn After Reading – why this film, with this cast, at this time? What were the boys thinking?


Monday, September 15, 2008


Sharon Mesmer
on poetry after theory


Kevin Davies’
The Golden Age of Paraphernalia


Evie Shockley reads Ed Roberson


414 photos
of the
Positions Colloquium
from Tom Orange


Nada Gordon’s “Poem to My Enemies”


Ted Berrigan’s New York


Wanda Phipp’s
Field of Wanting


Ian Jack has died

As has Edgardo Vega Yunqué


Eileen Tabios on prose poetry
& decolonialism


The collages of John Ashbery


Lourdes Vázquez on the fine press tradition
Latin America


Michael Palmer’s Active Boundaries


Rain Taxi reaches its 50th issue


Talking with & of Adonis


Lowell celebrates
the 50th anniversary of
The Dharma Bums


Brother Antoninus
& the Beat Generation


Emily Warn
surround by beat poets


Dana Gioia announces retirement


A question for Donald Hall:
"Why a ‘life in poetry'
when almost nothing gets said
about composing a poem?"


Close reading blurbs


Poets on War & Peace


Lisa Jarnot’s “For the Nation”


“odds and ends”
from the
Positions Colloquium


Geof Huth reading “Blue”

Reading “Carbon” and “Demo

Plus “Engines” & “Force


John Godfrey’s City of Corners


Talking with Gabeba Baderoon


I saw the best minds of my generation
turned into a cheesy docudrama


Wordplay welcomes Thomas Meyer


Poetry audio,
a list of resources


Alan Bernheimer’s Particle Arms,
a classic of
San Francisco’s Poet’s Theater


The “Reading Through Modernism” site
has been redesigned
& files converted into MP3s


Zen Monster
comes to
New York


One more argument for
slow poetry


Wishing Auden were here
to put things right


Mark Scroggins reads Lyn Hejinian’s The Beginner


NJ Gov. John Corzine
with William Carlos Williams

& other surprises
of the forthcoming 125th birthday conference


Michiko Kakutani on David Foster Wallace


Philip Metres’ nominations
for Steve Evans’
Attention Span” poll


Dragnet haikus


Indian poets writing in English


The beats in India


More “nano thoughts for the nano phone”


Linda Gregg’s All of It Singing


Elizabeth Smither wins
the Prime Minister’s Award for poetry


Mahmoud Darwish’ Hebrew translator
reflects on the late poet

A view from,
The Wall Street Journal’s
web site for MBA students


The memoir of Leland Bardwell


PennSound adds Key West


One benefit of being laureate

Exactly how big his head has gotten

Fleur Adcock on Motion’s stillness


A platypus in Edmonton


Slammin’ in Westchester County


The Clifford Irving Show




Five questions for Tom Paulin


The Big Poem


In Grasmere


A profile of Marianne Aweagon Broyles


BBC Four to run series
on British poetry


The pathology of “normal fiction


A profile of Charlie Pratt


It’s because their U.S. equivalents
aren’t very good


Nicholas Manning on Mark Young


Celebrating Robert Dunn


Machado rises


The cult of silence


melodic ditties will be ringing


Talking with Bill Johnson


Only Facebook can save this country


The Yoda of typewriters has died


What’s driving the resurgence of libraries
is not books


Booker shortlist omits Rushdie

Masterpieces get away


Searching for Troy


Where’s Prospero?


Where to buy from independent retailers


Why indie bookstores matter

Why Borders doesn’t


Independent Booksellers of NYC


A 40th-birthday self-education project –
read 1,000 books


A digital library free to the world


Pirated digital versions boost sales


The GOP as book buyers in St. Paul


E-book study at Penn State


Battles over textbook piracy


“The most dangerous book of poetry ever written”


Cultivating demand for the arts (PDF)


A great profile of Maurice Sendak


A.I.R. Gallery has moved


Why Diebenkorn isn’t famous

(minor error – the show opens
Oct. 11 2009, not 2008)


The New Museum
buys a building


Robert Hughes: Hirst is a hack

Hirst against Hughes

Sotheby’s stock takes a hit


The Met promotes
one of its own


The war over Rothko


A major art theft in broad daylight


the best on-line archive
of avant-garde music
I’ve ever found,
Nels Cline
Carla Kihlstedt
Oliver Lake
Fred Frith
Anthony Braxton
Miya Masaoka


The advantages of facilitating theft


The House of Wittgenstein
isn’t about Ludwig (mosty)



Dancing for Israeli security


American sadism


The pathology of the Republican party


The latest mode of adjunct abuse

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