Saturday, July 24, 2010


Joanne Kyger reading at UC Berkeley, 2007

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Friday, July 23, 2010


Video clips from

Talon Books’ 2010 Cross-Canada Poetry Tour

Frank Davey, Stephen Collis, George Bowering,
Ken Norris, derek beaulieu, Ken Belford,
Weyman Chan, & Garry Thomas Morse

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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


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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.

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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
& 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

Tagore turns 150

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

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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:

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Sunday, July 18, 2010


W.H. Auden reading at the 92nd Street Y, 1972


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