Saturday, July 28, 2012


Sun Ra:
Brother from Another Planet

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Friday, July 27, 2012


Received (not always recently)

Books (Poetry)

Lidija Dimkovska, pH Neutral History, translated from the Macedonian by Ljubica Arsovska and Peggy Reid, Copper Canyon Press, Port Townsend, 2012

Peter Filkins, The View We’re Granted, The Johns Hopkins University Press, Baltimore, 2012

Jennifer H. Fortin, Mined Muzzle Velocity, Lowbrow Press, no location given (but Minnesota), 2011

Benjamin Friedlander, One Hundred Etudes, Edge Books, Washington, DC, 2012

Tinker Greene, Who I Was, self-published, San Francisco, 2012

Rob Halpern, Music for Porn, Nightboat Books, Callicoon, NY, 2012

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Thursday, July 26, 2012


The Life of Alden Van Buskirk

Jordon Davis on Spring and All

The Bowery Poetry Club to close

The influence of Buddhism on the American Avant-Garde

Is Leonard Cohen’s poetry a form of sexual harassment?

Poetry, immigration & the FBI

Here come the Poetry Police

Laura Hinton’s report on the 80’s conference in Orono

Judith Goldman on non-retinal literature

The love letters of Emily Dickinson

Jennifer Chang: How to read a prophecy

Tony Trehy: Curating the Text Festival

Translating Russian poetry

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Wednesday, July 25, 2012


There is something of the awfulness of an Ed Wood film about James Franco’s Hart Crane biopic, The Broken Tower, except that there’s not, not really. What made Ed Wood everybody’s favorite bad filmmaker was a fundamental joy underlying all of his projects, the thrill of making movies, even if the flying saucer was a paper plate dangling on a string, the dialog wooden, the plot preposterous. The dialog is wooden, the acting atrocious, the narrative movement non-existent in The Broken Tower, but its underlying sense is one of brooding pompousness. You’re cringing at the self-importance of it all from the first frame to the last.

The ultimate crime here is that nothing in this film gives you the sense that Hart Crane was an interesting or an important poet, let alone both. When his texts are presented as voice overs or as text on the screen, they’re too long and rushed – it’s impossible to absorb it all & the passages cited aren’t the ones that inspire an impulse toward further inspection. When Franco as Crane gives a reading, it’s so ponderous & Victorian that both my wife & I nodded off before it was over. Indeed, the impact is so different from Franco’s quite moving reading of Howl in his role as Allen Ginsberg in the Rob Epstein-Jeffrey Friedman film of that name that it’s shocking. The two readings should be studied by film students so that they can understand why an actor is so often better off in the hands of another director, even relative novices to dramatic filmmaking like the documentarians Epstein & Friedman. We’ll get to see Franco try it all a different way when Franco stars as CK Williams (I kid you not) in the forthcoming Tar, a film with nine – count ‘em – directors.

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Tuesday, July 24, 2012


Mónica de la Torre
reading @ the Bowery Poetry Club

May 19, 2012


on Charles Bernstein’s Close Listening

Reading & Conversation

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Monday, July 23, 2012


Alexander Cockburn

1941 -- 2012

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Sunday, July 22, 2012


The Charlie Parker Story

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