Monday, December 5, 2011

December Write on the Dot reading

Write on the Dot is a poetry and fiction reading series featuring UMass-Boston MFA candidates and writers from the Dorchester community.

From a Boston.com article on the inaugural session:
The reading series was started by Molly McGuire and Aaron Devine, both students at UMass Boston's creative writing MFA program. UMass already showcases its writers' work at the Breakwater reading series in Coolidge Corner (which also hosts BU and Emerson students), but Write on the Dot is meant to bridge the gap between UMass Boston and the Dorchester community. "UMass is unique in that it's a commuter school. It's in Dorchester, but it's on that peninsula …It feels a little disconnected from the community sometimes," said Devine, who added that the university already has many programs that partner with Boston Public Schools and the public library to create that connection.
This time around, it's Sam Cha, Aaron Devine, Johnny Diaz, Mariya "Morie" Deykute, and Christopher Kain. Sunday, December 11, 2011, 6-7:30 pm, at The Blarney Stone, 1505 Dorchester Avenue. RSVP at http://www.facebook.com/events/239184296149172.

Bergman, Freireich, and Watt at Cambridge Public Library

Thursday, December 8, at 7 pm, at the Central Square Library, 45 Pearl Street, Cambridge.
Stay for refreshments following the reading.

Denise Bergman is the author of Seeing Annie Sullivan, poems based on the early life of Helen Keller’s teacher. She conceived and edited City River of Voices, an anthology of urban poetry, and was the author of Keyhole Poems, a sequence that combines the history of twelve specific Cambridge locations with their present use. Denise was poetry editor of Sojourner, A Women’s Forum, and hosted a CCTV show “Women in the Arts.” She received several grants from the Massachusetts Cultural Council and the Puffin Foundation. Her poems have been widely published and nominated for a Pushcart Prize. An excerpt of her poem "Red", about a slaughterhouse, is permanently installed in Dana Park.

H. Susan Freireich went back to school to study public health after twenty-five years of teaching, community organizing, and political activism. She worked in the civilian communities caught in El Salvador’s civil war and is writing a book about the experience. She is the recipient of the 1998 Frances Shaw Fellowship at The Ragdale Foundation, and the 2005 Mildred Sherrod Bissinger Memorial Endowed Fellowship at the Djerassi Resident Artists Program. She has also received support and time for her work from Norcroft, Hedgebrook, Blue Mountain Center, and Casa Libre en la Solana. Her work has appeared in Poetic Voices Without Borders and in The Best Women’s Travel Writing 2007 and The Best Women’s Travel Writing 2008.

Molly Lynn Watt is the author of a book of poems, Shadow People, sharing journeys as a progressive educator, singer and activist. She is working on a manuscript, On the Wings of Song, set the Civil Rights Movement of 1963. She edited volumes 1-4 of Bagels with the Bards, is poetry editor for the HILR Review, and a frequent contributor to literary journals. She supports voices of others as curator for the monthly Fireside Readings at Cambridge Cohousing, workshop leader for The Kent Street Writers and Poet Laureate of HILR. She received residencies from Soul Mountain and Lake Atitlan Writer’s Workshop. She and participates in NoCA Open Studios and The Joiner Center Writing Community.

Thursday, November 24, 2011

December 1: Ferry Reading in Boston

Eminent poet and translator David Ferry will read this Thursday, December 1, at 7:00 p.m. at Suffolk University’s Modern Theater, 525 Washington Street, downtown Boston. Ferry’s most recent award is the 2011 Ruth B. Lilly Prize, from the Poetry Foundation, for “lifetime career achievement.” The most recent book of his poems is Of No Country I Know, New and Selected Poems and Translations. His new collection of poems, Bewilderment, will be published in 2012. His books of translation include Gilgamesh, A New Rendering in English Verse; the Odes of Horace; the Epistles of Horace; the Eclogues of Virgil; and the Georgics of Virgil. A Distinguished Visiting Scholar at Suffolk University, he is currently translating the Aeneid of Virgil.

Thursday, November 3, 2011

SCOTT REVIEW OF ANONYMOUS

what is surely one of the more effective openings in recent reviewery, A. O. Scott writing for the New York Times begins his critique of the new Shakespeare costume thriller Anonymous with this account: "a vulgar prank on the English literary tradition,a travesty of British history and a brutal insult to the human imagination. Apart from that, it’s not bad." He is more generous later on: "My point is that it might be a mistake to suppose that the director of 10,000 B.C. — to mention only the most salient example — should be taken as a reliable guide to history." Oh come on, Mr. Scott; that may be part of your point, but not the whole of it. The full review, which asks the question "How well does the director manager this complex question?" of a film which asks, "How could a commoner write such great plays?", appears at http://movies.nytimes.com/2011/10/28/movies/anonymous-by-roland-emmerich-review.html.

Nota bene: Here is an excerpt (from an article on the NPR website) from Mark Twain's pamphlet response to the incredulity exhibited by skeptics of Shakespeare's authorship:
is surmised by the biographers that the young Shakespeare got his vast knowledge of the law and his familiar and accurate acquaintance with the manners and customs and shop-talk of lawyers through being for a time the CLERK OF A STRATFORD COURT: just as a bright lad like me, reared in a village on the banks of the Mississippi, might become perfect in knowledge of the Behring Strait whale-fishery and the shop-talk of the veteran exercisers of that adventure-bristling trade through catching catfish with a 'trot-line' Sundays."

FRUITLANDS CALL FOR SUBMISSIONS


The Fruitlands Museum -- a beautiful facility, with outdoor and indoor exhibits occupying a hilltop location in Harvard, Mass. -- in partnership with the Concord Poetry Center, is inviting poets to come seek inspiration in a landscape rich in natural and human history. Fruitlands is soliciting original poems written about and on the museum grounds during fall and winter 2011-2012.

From the program description page: "Anything that can be seen or experienced on the 210-acre property from outside the museum buildings is an appropriate subject. Ten to fifteen poems will be selected by a jury of poets and museum staff. Poets whose poems are selected will be invited to share their work at a Plein Air Poetry Celebration at Fruitlands on the afternoon of Sunday, May 6. Selected poems may also be compiled in a chapbook and/or audio recorded."

Email submissions to poetry@fruitlands.org. Submission deadline is January 15, 2012. Rules and guidelines at http://www.fruitlands.org/sites/default/files/flyer%20for%20poets.pdf; sign-up sheet at http://www.fruitlands.org/sites/default/files/plein%20air%20poetry%20signup.pdf. If you have questions call 978.456.3924 x291 or email poetry@fruitlands.org.
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The photo above was taken on a visit to Fruitlands in October 2011, and is directed toward the rise of Mt. Wachusett to the west. Thoreau, addressing this peak, noted that "like me [thou] standest alone without society", and "know'st not shame nor fear."

Monday, October 24, 2011

Bosch & Pomerantz at Suffolk

Daniel Bosch and Marsha Pomerantz will be reading at the Suffolk University Poetry Center, on Wednesday, November 16, 2011 at 7 p.m.

Marsha Pomerantz’s collection The Illustrated Edge is out this year from Biblioasis. Her poems
and prose have appeared in journals in the US, UK, and Israel, and she has translated poetry, short fiction, and a novel from . She has enjoyed support from the MacDowell Colony and the Massachusetts Cultural Council, but is happy to have a day job at the Harvard Art Museums.

Daniel Bosch's book Crucible was published by Other Press in 2002. His poems, translations, and
reviews have appeared in Salamander, Poetry, The New Republic, the Times Literary Supplement, Slate, Agni, Kill Author, Berfrois, Beloit Poetry Journal, ArtsFuse, and many other publications. He was the Director of Writing & Publishing at Walnut Hill School for the Arts for seven years, and he now teaches expository writing at Tufts University.

Co-sponsored by Salamander magazine and the Suffolk University Poetry Center. Sawyer Library, Third Floor, 73 Tremont Street, Boston MA.

Thursday, October 20, 2011

A ROBERT FROST PLAY IN LOWEL

. "This Verse Business" is a one-man play starring Gordon Clapp – best known for his Emmy-winning role as Detective Greg Medavoy on NYPD Blue and his Tony-nominated role as Dave Moss in the 2005 Broadway revival of Glengarry Glen Ross -- as Robert Frost, the great American poet who “barded” around the country for forty-five years with his dry wit and “promises to keep.” Show runs from 10/20 to 11/13; online at http://www.merrimackrep.org/season./show.aspx?sid=101. The Merrimack Repertory Theatre is in downtown Lowell, just a short ride away on the Commuter Rail.

READING FOR WILD APPLES 8

A reading has been organized to celebrate the launch of the new (and final) issue of Wild Apples journal, organized around the theme of "Root, Trunk, Bough." TONIGHT, Thursday, October 20 at 7:30pm, at the Old Library, 7 Fairbank Street, Harvard, MA. With readings from Wild Apples writers -- Linda Fialkoff, Linda Hoffman, Kathryn Liebowitz, Greg Lowenberg, Susan Edwards Richmond, Sophie Wadsworth, and Stanley Euston -- and an exhibit of Wild Apples artists curated by Pam Cochrane and Alicia Dwyer, as well as live music by the Rootstocks.

OCTOBER BREAKWATER READING

The Breakwater Reading Series presents writers from the MFA programs of UMass-Boston, Emerson, and Boston University. This month's session features Drew Arnold and Danielle Jones-Pruett of UMass; Mike Brokos and Abriana Jette of BU; and Lauren Picard and Wesley Rothman of Emerson. Friday, October 21, 7pm, at Brookline Booksmith, 279 Harvard Street, Brookline (C-line to Coolidge Corner). Free and open to the public.

HENRI COLE AT HARVARD

Henri Cole, the author of 8 collections of poetry including Touch (Farrar, Straus & Giroux, 2011), teaches at Ohio State University and Harvard. He is poetry editor of The New Republic, and lives in Boston. This free and public reading is sponsored by the Harvard Department of English. Monday, October 24, 6pm, Thompson Room, Barker Center, 12 Quincy Street, Cambridge.

Thursday, October 13, 2011

Parks & Halliday reading at BU

evening of Fiction and Poetry: Tim Parks and Mark Halliday
Thursday, October 13th at 7pm at the BU Castle, 225 Bay State Road

Born in Manchester in 1954, Tim Parks studied at Cambridge and Harvard before moving permanently to Italy in 1981. Author of three bestselling books on Italy, plus a dozen novels, including the Booker short-listed Europa, he has translated works by Moravia, Calvino, Calasso and, most recently, Machiavelli. While running a post-graduate degree course in translation at IULM University, Milan, he writes regularly for the LRB and the NYRB. His non-fiction works include, Translating Style, a literary approach to translation problems; Medici Money, an account of the relation between banking, the Church and art in the 15th century; and, most recently, Teach Us to Sit Still.

Mark Halliday teaches at Ohio University. His books of poems are Little Star (William Morrow,1987), Tasker Street (University of Massachusetts, 1992), Selfwolf (University of Chicago, 1999), Jab (University of Chicago, 2002), and Keep This Forever (Tupelo Press, 2008). His critical study Stevens and the Interpersonal appeared in 1991 from Princeton University Press. He co-authored with Allen Grossman a book on poetics, The Sighted Singer (Johns Hopkins University Press, 1991).

Free and open to the public. A reception will follow. There will also be books for sale. Supported by the BU Center for the Humanities, and the College of General Studies. This event serves as a prelude to this weekend's ASLCW conference at BU.

For more information, please contact Meg Tyler at 617-358-4199.

Wednesday, October 12, 2011

A ROBERT FROST PLAY

"This Verse Business" is a one-man play starring Gordon Clapp – best known for his Emmy-winning role as Detective Greg Medavoy on NYPD Blue and his Tony-nominated role as Dave Moss in the 2005 Broadway revival of Glengarry Glen Ross -- as Robert Frost, the great American poet who “barded” around the country for forty-five years with his dry wit and “promises to keep.” Show runs from 10/20 to 11/13; online at http://www.merrimackrep.org/season./show.aspx?sid=101. The Merrimack Repertory Theatre is in downtown Lowell, just a short ride away on the Commuter Rail.

Tuesday, August 16, 2011

Ex-pat seminar blurb in The Globe

From Jan Gardner's 8/7/11 "Word on the Street" post for the Globe:
Transported by books

Edith Wharton’s “In Morocco,’’ about her journey just after World War I, is a classic of travel literature. Henry James in “Italian Hours’’ wrote about his enchantment with the country that became the setting for some of his best-known novels. And the music composed by Paul Bowles was deeply influenced by his visits to exotic locales.

Travel transformed the 19th- and 20th-century American expatriates whose writings are being explored in a series of seminars under way at Boston University’s Mugar Library, 771 Commonwealth Ave. These are bargain armchair adventures. The Boston Poetry Union is charging $5 for each two-hour class taught by Christopher M. Ohge, a doctoral candidate at BU. No prior knowledge is assumed, and no preparation is expected, although reading packets are available for each session.

This is the third summer the union has held a seminar series, according to organizer Zachary Bos. Registrants include an astronomer, a bartender, and a psychotherapist as well as graduate students in literature.

At each session, Ohge will talk about the themes of that evening’s texts before leading a group discussion focused on a close reading of them. Each seminar stands on its own.

Friday, August 5, 2011

Writers’ Block reading with Jay Walker and Charles Perry Jr.


Sunday, August 7th, 2011 , 1–3 PM, at Gallery X (lower level), 169 William Street, New Bedford, Mass. Part of the Writers’ Block reading series. Sign-up begins promptly at 12:30 PM.
BYO beverages.

About the featured readers:
Jay Walker has a penchant for wearing Hawaiian shirts & also for removing them. Since the law prohibits physical nudity, Jay bares his soul through his work, looking to heal himself & others through sharing feelings & experiences. The author of two published collections, as well as CDs, he's a former alternate for the AS220 Slam team, the most recent addition to the staff at GotPoetry! Live, the interim Slam master at the MondaySLAM @ The Spot Underground, the Poetry Coordinator for the SENE Film, Music & Arts Festival & the founder of Jaybird St. Productions (planning live & recorded projects & events), all when he's not running the Providence 48 Hour Film Project for the RI Film Collaborative or acting in local film & stage productions himself ... yeah, he's busy. Cape Verdean by descent, American by birth, a citizen of Earth by choice & Darth Vader by proxy (his son really is Luke Sky).

Charles Perry, Jr. aka "A Poetic Pulse", is a veteran member of the New Bedford Police Department, having served since 1988. As a self-published author, his collectinos include A Poetic Pulse, A Poetic Pulse 2, Good, Bad & Lovely, The Song of the Sea, Heart and Soul, Poetry Pulses, Thinking & Writing, The Passion for Poetry, and A Daily Dose.

Thursday, August 4, 2011

Reading with Wright and McNair

This Sunday, August 7th, at 4 PM, poetry lovers will fill the East Lawn at the Longfellow House, as numerous (and probably as tousle-headed) as any crop of dandelions, to hear Wesley McNair -- author of Lovers of the Lost -- and Franz Wright -- author of Walking to Martha's Vineyard, and of a prose work to appear in the forthcoming third issue of The Charles River Journal -- read new works. Hosted by the New England Poetry Club.

Where? 105 Brattle Street, Cambridge -- just a few blocks from the heart of Harvard Square.

National Poetry Slam in Cambridge

The 2011 National Poetry Slam is coming to New England! The organizers are looking for volunteers to us welcome the hundreds of participating poets traveling from all over the world to converge on Cambridge, Mass. next week, from August 8th through August 13th. Contact the staff through their website or via email to offer your help.

Not Enough Books in Your Bag?

Robert Archambeau recently asked Facebook what word we might use for the particular species of anxiety felt when you're packing for a trip and you fear you're not bringing enough books. He writes,
I know guys who, even though they know they won't read them, bring 8 or 10 books for a weekend trip. I ask because I just put two books & a Kindle into my bike's saddlebag, in case I feel like pulling over and reading on a bench for a while. I need to know the name of the disease from which I suffer!
In response, one David Sanders suggested "biblialgia", while Lina Ramona Vitkauskas observed that this is just a symptom of that disease called "intelligence".

Can you do better? Post a comment below, if you will. I'll make sure RA is alerted to any progress we make. I did send this over to Word Fugitives at The Atlantic, but have heard nothing yet -- though I'm not surprised to think her backlog is miles deep, what with the current mania for neologism and lexical recasting.

Tuesday Poem: "The Wild Bees"

Over at the Tuesday Poem blog, we see a lovely poem by John Griffin. As explains this week's TP curator, "The Wild Bees" is "really a kind of love poem, an offering of soma or salve, a nectar meant to soothe the pain of a writer (a writer-goddess in this case) to whom, or perhaps with whom, the poet is responding." A stanza taste:
Veined wings made of water lift water’s weight
and flap water’s freight improbably into flight
where it hovers now before the portals of pollen
and fans antigens, powder down and dander
with such a busy buzz the glassine scales intensify
the air, evaporate the dew and vaporize your tears.
Online at the Tuesday Poem blog.

An award for service to literature

Who do you know whose teaching, publishing, editing, and advocacy on behalf of literature deserves special recognition? The Association of Writers & Writing Programs invites letters from any members (I know many of you are such) who wish to nominate candidates for the George Garrett Award for Outstanding Community Service in Literature. Letters of nominations must be postmarked before September 15th. The 2011 winner was Askold Melnyczuk, of the UMass-Boston faculty. We stare pointedly in the direction of Don Share, Bill Corbett, Mary McCallum...

Reading with Golaski, Ipsen and Charbonneau


Timothy Gager hosts another session of the Dire Literary Series, on Friday, August 5, at 8 PM at the Out of the Blue Art Gallery, 106 Prospect Street, Cambridge. An open mic will follow the featured readers:

Adam Golaski is the author of Worse Than Myself (Raw Dog Screaming Press, 2008). He is a founder of Flim Forum, a press publishing books of contemporary experimental poetry, and is the editor of New Genre, a literary journal for new and experimental horror and science fiction.

Anne Ipsen has written two memoirs about her childhood in Denmark and teenage years in Boston. Her historical novel "At the Concord of the Rivers," about the Puritans in 1692, was just published in 2011. She lives in Newton, Massachusetts.

Ray Charbonneau is the author of Chasing the Runner's High: My Sixty Million-Step Program.

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If you care to go with a group, RSVP at the Boston Poetry meetup event page.

Boston Review Short Story Contest

Recently rededicated to the memory of the late author and critic Aura Estrada, and judged in its first year by her husband, Francisco Goldman, the Aura Estrada Short Story Contest is now accepting submissions for 2011. This year’s judge is acclaimed novelist and
critic Samuel R. Delany.

The winning author will receive $1,500 and have his or her work published in Boston Review, the summer of 2012. First runner-up will be published in a following issue, and second runner-up will be published at the Boston Review Web site. Stories should not exceed 4,000 words and must be previously unpublished. Mailed manuscripts should be double-spaced and submitted with a cover note listing the author’s name, address, and phone number. No cover note is necessary for online submission. Names should not appear on the stories themselves. Any author writing in English is eligible, unless he or she is a current student, former student, relative, or close personal friend of the judge. Simultaneous submissions are not permitted, submissions will not be returned, and submissions may not be modified after entry. A non-refundable $20 entry fee, payable to Boston Review in the form of a check or money order or by credit card, must accompany each story entered. All submitters receive a complementary half-year subscription (3 issues) to Boston Review. Submissions must be postmarked no later than October 1, 2011. Manuscripts will not be returned. The winner will be announced no later than May/June 2012, on the Boston Review Web site.

Enter using the online contest entry manager, which requires payment using a credit card. Or mail submissions to Short Story Contest, Boston Review, PO Box 425786, Cambridge, MA 02142.

August 16th reading with Collins, Johnson, and Sasanov

The First and Last Word Poetry Series, curated by Harris Gardner and Gloria Mindock, is hosting a reading on August 16th -- 6:30 PM., at The Center for the Arts at the Armory, 191 Highland Avenue, Somerville, Mass. Admission: $4. There will be an open mic, following the featured readers:

Martha Collins is the author of the book-length poem Blue Front (Graywolf, 2006), which won an Anisfield-Wolf Award, as well as four earlier collections of poems and two collections of co-translated Vietnamese poetry. Other awards include NEA, Bunting, Merrill, Witter Bynner, and Lannan Foundation grants. Two new collections of poems are forthcoming: White Papers (Pittsburgh,2012) and Day Unto Day (Milkweed, 2014). Collins is currently editor-at-large for FIELD magazine.

Robert K. Johnson was born in New York City and later lived on Long Island. He obtained a B.A. from Hofstra College (now University); and earned graduate degrees from Cornell University and Denver University. Now retired, he was a university professor of English, mostly at Suffolk University in Boston, for many years. He is currently submissions editor of Ibbetson Street. Many of his poems have appeared individually in a wide variety of magazines and newspapers. Five full-length collections of his poetry, the most recent being From Mist To Shadow, have been published, plus two chapbooks.

Catherine Sasanov's Had Slaves (Sentence Book Award, Firewheel Editions) was recently named a 2011 Must Read by the Massachusetts Center for the Book. She is also the author of Traditions of Bread and Violence, All the Blood Tethers, and the theater work, Las Horas de Belen: A Book of Hours, commissioned by Mabou Mines. Her current work, funded in part by the Ludwig Vogelstein Foundation, explores what rushes in to fill the void when evidence of slavery's past has been eradicated from the landscapes on which it once thrived.

The Center for the Arts is located between Davis Square and Union Square. Parking is located behind the armory at the rear of the building. Arts at the Armory is approximately a 15 minute walk from Davis Square which is on the MTBA Red Line. To get there by bus, take either the 88 or the 90, from Lechmere or Davis Square. Get off at the Highland Avenue and Lowell Street stop. The Center is also close to Sullivan Square (Orange Line), accessible by the 90 bus at the Highland Avenue and Benton Road stop.

This event has been added to the Boston Poetry meetup calendar. If you wish to "go with a group", you can RSVP at the BP event page.

Tabatabai: "Adam to Eve in Old Age"

The world was all before them, where to choose
Their place of rest, and Providence their guide:
They hand in hand with wand’ring steps and slow,
Through Eden took their solitary way.
– Milton, Paradise Lost
Dear Eve,

Many moons have passed
since that first day
we left the garden
with our heads hung low
and our shadows cast.

Remember how hot it was?
how thirsty we were,
how far we walked to find water and shade.

Remember that first night?
how dark it was,
how scared we were,
how naked we felt in our leaves.

And that first winter?
with its reluctant sun
and thickening night,
how we hugged to keep each other warm.

Many winters have passed and with each
I’m getting slower, and smaller.

We’ve been through much,
and I know it wasn’t easy for you.
I still regret the way I treated you
when he yelled at us
for eating his fruit.

I knew you needed
my sympathy and support
but I called you stupid
and you cried.

I wish I had held you instead
and kissed your head and told you
it would all be fine.
I wish I could have stood up to him.
I wish we had taken a whole basket of that fruit.

I remember the first time
your belly swelled.
I was nervous because
you screamed and screamed
and I thought I would lose you
and be alone,
but a child was born.
And he drank from your breast
and he clung to your skirt
and we learned life.

I know it was hard
when we lost Abel,
and we lost Cain,
and we learned death.

For the longest time
you wouldn’t eat, or talk, or touch.

But we’ve had good times too.

Remember that first spring?
the way it smelled,
the way we felt,
as if we’d never left
that long-forgotten place.

Remember the time we drank
from the vine we grew
on the trellis in the back?
You laughed because my eyes turned red
and my teeth turned blue.

That was the night I discovered you,
the night I smelled you and tasted you.
I realized how you squint when I kiss you,
and blush when I watch you.

That night I found your nape
and the curves of your waist,
and those two dimples
low on your back.

And you showed me the things a woman can do.

It has ceased to be that way
with me and you
for a long time now—I know.
But when I look at you,
with your gray hair and wrinkled smile,
I still see that wide-eyed girl
trying to cover herself with leaves.

As we reach the autumn of our lives
there is nothing I want more
than to sit by your side
and hold your hand
and listen to your voice.

My beautiful Eve,
my love, my life,
I thank you for giving meaning
to my mortality.

*

From the collection Uzunburun, Pen & Anvil 2011.

Eve's Fall, updated

Speaking of vipers, and of updating old books into new systems. Pamela Garvey's poem "Eve’s Fall Through Technology" was a Tuesday Poem feature on 3 Quarks Daily. Here's Section 3, "The Fax":
Enclosed is my confession. Read it over, sign, date, and send back ASAP.

The serpent wound up
my inner thigh.
Risk-taking was my halo,
paradise calibrated.
He tore the seam between us.
I know you are hungry. I know
you are lost. My days
are a frayed immersion.
I peel and core and slice
apple after apple
to taste their rot.
We owe so much to old Eve, taking it on the chin for so many ruined generations. Many thanks to Shanna Slank for turning our eye to this poem.

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Sassan Tabatabai -- like Keith Botsford, a contributor to The Charles River Journal -- himself has a well-tuned poem returning to this Biblical trope, "Adam to Eve in Old Age". This poem will appear in his first poetry collection, Uzunburun, will be available this September from Pen & Anvil.

The 'literary turn' and accounting

One of the most sustained explorations of the linguistic and literary turns in accounting is that of Macintosh. One stream of Macintosh's work encompasses exploration of areas of French critical thought that overlap with literary theory: Macintosh and Shearer (2000) take a Baudrillardian semiotic analysis of a contemporary society dominated by a proliferation of non-referential signs (Baudrillard, 1981) to indicate accounting's increasing loss of referent and related audit simulacra; Macintosh et al. (2000) draw further on Baudrillardian concepts of simulacra, hyperreality and implosion (Baudrillard, 1981) to trace the historical transformation of accounting signs from Sumerian times to the present; Macintosh (2002) provides the most wide-ranging introduction of French critical thought to accounting, outlining the impact of Saussurean linguistics on structuralism and semiotics, but primarily focused on six critical theorists and philosophers who might be termed structuralist and post-structuralist: Bakhtin, Barthes, Baudrillard, Derrida, Foucault and Nietzsche.
-- from "Paratextual framing of the annual report: Liminal literary conventions and visual devices", an article by Jane Davison of the University of London's School of Management, as appears in Critical Perspectives on Accounting, V. 22, No.2 (2011)

Image at top: "The eye without eyes, the hundred-headless woman keeps her secret", a collage by Max Ernst from La Femme 100 Têtes, 1929.

From CRJ: "Gaucho Sunrise"


Speaking of literary travels in South America, that above-mentioned issue of The Charles River Journal, awakening from hiatus, will include an excerpt, "Gaucho Sunset", from Wonder/Wander, a literary scrapbook of poetry, short fiction, and nonfiction prose, telling the story of the people and places author Aaron Devine encountered during 522 days and working in communities off the tourist trail in Latin America.

Annual Whittier Reading

The Whittier Home Museum is sponsoring its 13th annual collaborative readings from the poetry of John Greenleaf Whittier on Sunday, August 7 from 3-4:30 p.m. The poetry readings will take place in the garden of the Whittier Home Museum, 86 Friend Street, Amesbury, Massachusetts.

Readers: Cynthia Costello, president of the Whittier Home Museum; Walter Howard, who will sing his selection; Harris Gardner, coordinator of the Tapestry of Voices series; Gus Reusch, curator at the Whittier Birthplace in Haverhill; Lainie Senechal; Skye Wentworth; Toni Treadway; Bob Brodsky; Les Weiner; and Kristine N. Malpica.

Light refreshments will follow the readings. In case of inclement weather, the program will be held in the Whittier Home’s meeting room. For more information, call the Whittier Home at 978-388-1337 .

NB: This reading has been added to the Boston Poetry meetup calendar; if you care to RSVP and 'go with the group', you can do so at the event page.

Henry James and The American Idea

Apropos to the discussion in last week's seminar in American expat literature is essay recommendation from Arts & Letters Daily:
Founded in 1857 to advance the “American idea,” The Atlantic Monthly was an odd intellectual home for Henry James, a peripatetic expat who renounced his U.S. citizenship... [Links to Humanities Magazine]

Bishop, Botsford, Lowell, Borges

The volume Words in Air -- comprising 30 years of letters between Elizabeth Bishop and Robert Lowell -- was published last year. Several copies circulated among a crowd of us here in Boston, and we fought rather fiercely to extend our turn, to pick through their exchange of mutual esteem, respective exasperations, and reports from "the proper table-land of poetry". A fun way to pass the time, if you can't get your hands on a copy, is to enter queries like "wobbling" and "horrid" into the search feature for text of Words in Air available at Google Books.

One letter of pointed interest to me is found on page 414:
Keith is now coming to see me about some prose translations of you. [...] He comes through Rio traffic wobbling on a bicycle -- with his large wobbling pipe leading.
This is Keith Botsford she's writing about, he of long-time magazine collaboration in oft-varying proportions with Saul Bellow, who used to have a group of us young turks (pictured below) over to his house perched atop Savin Hill in Boston overlooking Dorchester Bay. We'd goggle at his multilingual library and receive orders on proofing mss or reviewing submissions for News from the Republic of Letters, and he'd make us strong coffee in tiny cups, and a nice lunch besides. For many years, he gave access to a view on world literature, and on kulchur, that I don't know we would have groped our way toward otherwise.

We reprinted in the most previous issue of The Charles River Journal (#2, published before the intervening long hiatus to be broken with the appearance of #3 this September), a journal of a trip he took with Robert Lowell through South America -- Brazil, Argentina. It begins:
Swooping down on Belem do Para. Bethlehem. Mouth of the Amazon. Ten at night, the Lowells due at midnight: hence the poet’s full moon turned out for us, and the river bright as tinfoil. We see it, distorted by the double-pained windows of our DC-6. Then we don’t see it. We have to punch through a storm, shaped like a trompe, which the OED calls a water blowing-engine (French has it as a musical instrument, the horn for instance): black turbulent air. Glimpses, as we buck about, of black-green forest below. We boil in our belts, then we get sleet: I can see it bouncing off the wings into the ocean, and I can see the pattern of the delta disemboguing, great semi-circular swatches of sand under shallow water. Then we circle around the forest again. Wet smoke rises from the forest, each wisp isolated by mile after mile of darkness.
(Anyone who'd like to read the full piece may request a PDF copy of that issue.)

Lowell, elsewhere in Words in Air, admits he gave KB "a hard run" on that tour. At one point, he apparently declared himself Caesar of the Amazon... one hopes there are photos. Later on the trip, they met with Borges in Buenos Aires. A 1962 issue of The Kenyon Review ran Botsford's piece, "About Borges and Not About Borges", a chimeric text based -- KB writes -- on "Dialogues of every kind. Some between the two of us, recorded on tape; some just noted; some that took place in my imagination; and some that are beyond both of us, whose relation to Borges is that they exist because Borges exists, and would not if he did not."

From that text, here is Borges speaking for the tape recorder:
I Americans are realistic in the Norse manner, which is a pity: people more easily forgive other kinds of imperialism. There is a glamor about fighting, about armies, whereas commercial feelings are hard to understand. The Americans have beaten everybody and seem hardly interested in the fact. Perhaps the only American war they remember is the War between the States, and that is remembered because the South lost. People don't admire them for their hesitations. But perhaps you've got to be romantic; everyone sympathizes with the Trojans, and no one with the Greeks. There's something quite vulgar about victory, something dignified and pathetic about defeat. I think Kipling is a very great writer, and he's been run down simply because he bragged, in a very un-English way, about the empire. Or take the Germans. They can be wonderful soldiers, but they have to be bolstered up by some theory. They have to think of themselves as Teutons, or as characters out of Tacitus, or as Norsemen.
You can find the full piece online. If you lack access to JSTOR, you might email me and ask to borrow my hardcopy; I am glad to sent it 'round.

*
From the archives: The Boston section of the TRoL staff, c. 2002 .
R-L: ST, LM, EH, KB, JJ, AW
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Bishop Centenary at Vassar


POUGHKEEPSIE, NEW YORK: A major exhibit and symposium organized by the Vassar College Libraries will mark the centenary of poet Elizabeth Bishop, a 1934 Vassar graduate who earned the Pulitzer Prize and many other major U.S. literary honors before her death in 1979. Central to these upcoming events are the unmatched Elizabeth Bishop Papers housed at the college’s Archives and Special Collections Library.

For the exhibit, "From the Archive: Discovering Elizabeth Bishop", running August 30 through December 15, 2011, in Thompson Memorial Library, curator Ronald Patkus, asked ten Elizabeth Bishop scholars and editors to select items from Vassar’s Bishop collection that were important to their writing about the poet. These artifacts include a composition book that Bishop used in 1934 right after graduating from college and early drafts of the poems "12 O’Clock News" and "Homesickness".

At the September 24th symposium in Taylor Hall, Thomas Travisano will moderate a morning discussion “On Editing Bishop,” with panelists Alice Quinn, Lloyd Schwartz, Saskia Hamilton, and Joelle Biele. Barbara Page will moderate an afternoon discussion “On Teaching Bishop” with panelists Beth Spires, Lorrie Goldensohn, and Jane Shore. The symposium culminates with a keynote address by former U.S. Poet Laureate Robert Pinsky, who will also read his new poem dedicated to Vassar’s sesquicentennial and commissioned by the college for the occasion.

For more information, contact jekosmacher@vassar.edu.

*

Another reading in honor of the Bishop centenary will take place in Worcester, Massachusetts, on August 13th, and will feature Robert Pinsky and Charles Simic. For more details about this and other events, visit the EB100 blog.

Tuesday, August 2, 2011

A campaign to save East Coker


Sandra Snelling of the East Coker Preservation Trust writes:

The Somerset village of East Coker, where T. S. Eliot is interred, is shortly going to be swamped by 3,750 new houses and an industrial estate. The plan is being pushed through by a Liberal Democrat councilor on the South Somerset Council who admits his ignorance of its cultural significance, adding "I don't like poetry" and "You may well personally hold that a dead poet's tomb is a national monument, and that the setting extends for miles around, but as I understand it Elliott only had a passing link with the village, being the family home rather than his chosen place of regular abode. He was so overwhelmed with East Coker that he mentioned it in a poem once."

If the council does not very soon feel a groundswell of opposition from those who appreciate the beauty and literary importance of the village, this scheme will be unstoppable. Please will you help us to prevent that, by sending an email to the members of the council whose addresses appear below -- and by sending this appeal on to any of your friends who might also like to help? The East Coker Preservation Trust will be happy to provide any more information you need. It will be much appreciated if you feel able to write.

The campaign online: Facebook | Website | Blog | Twitter | YouTube

Members of the South Somerset District Council, and other gov't. contacts:

Photos -- "showing what is at stake" -- courtesy Jim McCue.

Friday, July 29, 2011

Philbrick Poetry Project Chapbook Competition

The Providence Athenaeum has announced guidelines for the 14th annual Philbrick Poetry Project Chapbook Series. This year's poet-judge is Lisa Starr, Rhode Island Poet Laureate

The winning poet will receive $500, publication of her or his chapbook, publication of an e-book on the Athenaeum website, and the opportunity to read with the poet-judge.
  • Deadline: Submissions must be postmarked between July 15, 2011 and October 15, 2011.
  • A check for the entry fee of $10.00 must be enclosed with the submission (includes free chapbook of a previous honoree).
  • Manuscripts should be 15 to 25 pages. Please send two copies.
  • Eligibility is limited to residents of the New England states (Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island, and Vermont) who have not had a poetry chapbook or a full-length book published. The Philbrick Poetry Project honors a spirit of fairness and integrity among poets. If you have been a student of the judge within the last five years or if you have a close personal or professional relationship with the judge, please wait until next year to submit your work.
  • The author’s name must not appear anywhere on the manuscript.
  • Please enclose with your submission two cover sheets with the following information. Cover sheet #1: Title of manuscript, author name and address, telephone number and e-mail address. Cover sheet # 2: Title of manuscript.
  • Please include a stamped, self-addressed envelope for announcement. Manuscripts will not be returned.
  • The honoree will be announced in February 2012.
  • The reading by the poet judge and honoree will take place at the Athenaeum in April 2012.

Manuscripts may be sent to: The Providence Athenaeum, attn. Philbrick Poetry Project , 251 Benefit Street
Providence, RI 02903.

Kinglsey Amis: "Something Was Moaning in the Corner"

O muskrat, ramble through the living grass
And coil the leaves on the abandoned bone;
Bring to the midden your eliding grease
And load the summer zephyrs with your bane.

O viper, mad with coiling on a pin,
Deadly Narcissus gazing on your scales,
Vomit your naked young sentenced to pain
And learn to love the bad sun where it scalds.

O spider, crawl into my tiny heart
And find your doom. The blood is vacant there.
With needle legs prick my dull skin apart
And build your web of sweet inhuman hair.

*

One of several experiential elements which have not yet been translated from physical libraries to e-reader storefronts and other digital spaces (I'm looking at you, Cushing Academy) is the likelihood of serendipitous discoveries brought about by catalog propinquity. Case in point: I was looking for a Kingsley Amis novel not too long ago, and happened to find on the library shelf in the same section, the thin volume which I have since discovered is relatively rare: Bright November, Amis' first collection, published by The Fortune Press in 1947, and from which the poem above is taken. A neat thing, -- imperfect to be sure, but full of Positions and Perspectives which would get a newly-minted MFA in trouble now-a-days is he or she tried to thicken a first manuscript with them.

Thursday, July 28, 2011

Literary Seminar: American Expat Literature

This is now the third summer in which the Boston Poetry Union has organized a Seminar in Literary Appreciation. This year, Christopher Ohge will guiding participants through a tour of "AMERICAN EXPATRIATE WRITING IN THE 19th & 20th CENTURY".

These reading seminars are intended to acquaint participants with major personalities and events in the broad body of American literature written by Americans abroad. No prior experience is assumed or needed, and no preparation is required to attend.

These are relaxed and informative affairs, where the aim is for all involved to grow in their appreciation of literature. The moderator will provide reading packets for each session, in hard copy at the seminar and in PDF in advance. At each session, the moderator will deliver a brief expository lecture introducing the themes and relevance of that evening's texts, before leading group discussion focused on close reading.

Thursdays 6-8 PM
Boston University's Mugar Library
771 Commonwealth Avenue, Room 414
"BU Central" stop on the Green Line "B" trolley

Seminar 1: July 28th
- Ralph Waldo Emerson: "The Sphinx"; "Persian Poetry"; and selections from Journals while abroad in Italy
- Nathaniel Hawthorne: "P's Correspondence"

Seminar 2: August 4th
Herman Melville: selections from Typee; "Paradise of Bachelors and the Tartarus of Maids"; and Journal of a Visit to Europe and the Levant

Seminar 3: August 11th
Henry James: selections from Italian Hours
Edith Wharton: selections from In Morocco

Seminar 4: August 18th
Gertude Stein: "Ada" and "Guillaume Apollinaire"
T. S. Eliot: "Fourth Caprice in Montparnasse" and Four Quartets

Seminar 5: August 25th
Paul Bowles: selected letters from France, 1929-1932; "A Distant Episode"; "Allal"; and "Baptism of Solitude"

Participants may attend any or all sessions; the seminar is not cumulative.

If you'd like to register, please email your name to bostonpoetryunion@gmail.com as well as your contact information and the dates you plan to attend. A maximum of 12 students can be seated at each session. The cost to attend each session is $5, or $25 for the whole seminar series. Payment may be made at the first seminar with cash, by check to "Boston Poetry Union," or via PayPal to bostonpoetryunion@gmail.com.

Friday, June 10, 2011

Eliot on Jones

Meeting of the directors in the Faber and Faber board room in 1944, 'round a table filled with readers' reports and bottles of beer'.  Sir Geoffrey Faber, the chairman and founder of the firm is in the center. T. S. Eliot is on the extreme left.
In his early years at Faber Eliot’s reports on poetry collections are written to tell his colleagues about the types of verse which he considered that the firm should steer clear of.  He was normally very diplomatic, but the feeble verse that a well-known aesthete had submitted received a terse one-line report: ‘I cannot endure this stuff’. One of Eliot’s most perceptive reports is on the manuscript of In Parenthesis, the great work about the First World War by the poet and artist David Jones, dated September 1936.  He does not overstate the importance of the work but draws out the Arthurian and Kiplingesque qualities that he knows will appeal to particular colleagues on the Book Committee. Typically self-deprecatory, he admits his views may not be widely shared: ‘I have not the slightest notion whether what I see in the book is really there, or if it is there, whether it will reach more than a few people’.
-- from "T. S. Eliot and the Faber Book Committee", a post by Faber archivist Robert Brown, over at The Thought Fox. [Also cross-posted to The Wonder Reflex; hat-tip to Don Share for sharing this.]

Thursday, May 19, 2011

A salon for Little Star # 2


A literary salon, held in a handsome Harlem brownstone ... Jamaica Kincaid reading, transfixing every person in the room, her white socks turned down so their embroidered edges splayed over her brown leather shoes, her angular prose resplendent... sound like a nice time? These are reports from the recent Little Star event, held to celebrate that rare thing in our era of ephemera, the second issue of a literary magazine.  

Little Star #2 may be purchased online; you'll also find much interesting literary goings-on at the journal's Facebook Page and blog. But if you're looking for olives and real live human beans, you'll have to keep your eyes open for the next Little Star salon.

Words and art this month at Lorem Ipsum


TONIGHT at Lorem Ipsum Books in Cambridge, the opening reception of YOUNG GHOSTS, the gallery installation for the month of May from local graffiti artist, Black Math, featured in a Weekly Dig interview this week. [Event page]

FRIDAY, MAY 20: the Sig Amet reading series session featuring Janaka Stucky, Dot Devota, Matthew Henriksen (author of Ordinary Sun) and Brandon Shimoda (author of The Girl Without Arms, whom Tomaž Šalamun describes as "an Ur-being, a totally new creature [... whose] language changes natural laws."), as well as poems read from Destroyer of Man, a posthumous collection of poems by Boston-area punk rock renaissance man, Dominic Owen Mallary. Start time, 7:30 PM. [Event page]

from "The Knife" by Keith Douglas

This I think happened to us together
though now no shadow of it flickers in your hands
your eyes look down on ordinary streets
If I talk to you I might be a bird
with a message, a dead man, a photograph.

*

This is the last stanza of five; a full text version appears here but it is not clear whether this is an authorized source.

Tuesday, April 12, 2011

LIT MAGS STILL EVANESCING

... er, I mean effervescing. The usual suspects line up to be counted in this trend piece for The New York Times profiling the present, surprising survival of literary magazines: McSweeney's, ZYZZYVA, CLMP. Wonder why your mag wasn't mentioned? Are you not thriving as well? Tip of the hat to Jenna D. for pointing this piece out.

TROL ONLINE AGAIN

News from the Republic of Letters has put on a new digital costume, i.e. has a new website, which serves in large part as a vehicle for Republic of Letters books, the third of which is out this month.

The Editor's motto for the new form of the magazine: We are not here to teach writers but to put them to the proof." For, Botsford continues, "In 21st-century America it is quite likely that the average reader has no idea that metals get proven: writers by publication among their betters."

Of the first offerings, I recommend "My Friend Borges."Really, it all looks good.

"GOD LIQUORS LOOSE EACH ASHEN TONGUE"

Below, and at the Boston Review website, Gregory Pardlo reads his poem "Palling Around":


This video is part of BR's special package celebrating National Poetry Month. The rich jangle of noun phrases Pardlo is using here is rather like what Lucy Brock-Broido was writing in her dense poems of the eighties; for example, these lines from "I Wish You Love" [from AGNI 27, 1988, pg. 11]:
Like Josef's skull ascending from Brazilian soil
On a twine, she rises from her famous white bed,
Exhumed by morning. I am hunted into daylight
When I wake like that, god-hungry, startled.
Now that my father is gone, he has gone
Luminous. I wish him love.

JOYCE SYMPOSIUM

The Boston Joyce Forum is sponsoring a symposium at Boston College this Saturday, April 16th. Joyceans of international repute such as Joe Valente (Buffalo) and Marilyn Reizbaum (Bowdoin) will present a series of lectures on the theme of "Joyce and History."

For more information on the BJF, write to Joseph Nugent or Patrick Mullen. Take note: throughout the academic semester, Raidin the Wake -- the Boston College Finnegans Wake reading group, now in its seventh year -- meets weekly in the ILA building at Stone Avenue.

BU ALUM NAMED ASME FINALIST

William Giraldi, a 2004 graduate of the BU MFA program in fiction, has been named a 2011 National Magazine Awards Finalist for his essay "The Physics of Speed" in the Fall 2010 issue of The Antioch Review. From the essay:
In the following days I learned that absence takes up space, has mass, moves from room to room. Grief is much heavier than fear. Fear hung before me in anticipation, whereas the grief was planted like a sequoia in my stomach, its roots reaching far down into my legs for water, its branches reaching up through my arms and torso and neck, the poison from its fruit spilling into my cells. Each terrible dawn stretched across the day and illuminated my father's absence.
 If you'd like to read the whole piece, subscribe to The Antioch Review, or ask to borrow my copy -- I'm happy to mail it out.

LIBERTY READING

In the latest iteration of the Poetic Justice reading series, January O'Neil, Marsha Pomerantz, and Ron Slate will be reading this Thursday, April 14th, at 6:30. The reading will take place in the 5th floor Esplanade Room of the Liberty Hotel, 215 Charles Street. Organized by Tapestry of Voices and The Grolier Poetry Book Shop.

READING AT THE ARMORY

The First and Last Word Poetry Series presents Joshua Coben, Ron Slate, and Kim Triedman, reading on Tuesday April 12th, at 6:30 PM at The Center for the Arts, 191 Highland Avenue, Somerville Mass. Admission: $4; followed by an open mic.

ARTWORK FOR CHRISTCHURCH

New Zealand artist and writer Claire Benyon is raising money to go toward relief efforts following the earthquake at Christchurch. It's something like a raffle; even a small donation will put you in the running to win one of the lovely works of art or literature donated by their creators to support the project.

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From that same part of the world, an announcement: distinguished British poet/translator Anthony Rudolf will feature in the seventh edition of the magazine chapbook titled "broadsheet." The authors in this series are rather carefully chosen, and the chapbooks themselves are elegantly produced.

THREE LINES I LIKE

This week's selection was made by Massachusetts poetry advocate/burr George Slone.
  1. "Estoit-il lors temps de moy taire?" -- François Villon
  2. "Me diste con la carne y la leche las silabas que nombraran tambien los palidos gusanos que viajan en tu vientre" -- Pablo Neruda
  3. "Walk on gaunt shores and avoid the people." -- Robinson Jeffers
Let us know by email if you'd like to share three lines YOU like, in a future weekly bulletin.

NEW ISSUE OF THE WOLF

Issue 24 of The Wolf is out, with poems by Paul Stubbs ('The Last Signs of Science'), Will Stone, Blandine Longre, Gabriel Levin, John Kinsella, and Anne Waldman among others, as well as critical prose and reviews (of Tabish Khair's Man of Glass, Siddhartha Bose's Kalagora, Charles Reznikoff's Holocaust, etc.) and paintings by Bahram.

The editor, James Byrne, will be reading with Tess Taylor, Laura Healy, and James Stotts, at a special session of the U35 reading series to take place at the Massachusetts Poetry Festival on Saturday, May 14th.

POEMWORKS

"One of the best places for workshops," says The Boston Globe. Barbara Helfgott Hyett of The Workshop For Publishing Poets has asked me to announce the start of their Spring 2011 workshops.

For details on class schedules and fees, and where to submit poems in application,visit http://www.poemworks.com, where you'll also find poems by current members, and lists of awards won including Pushcart Prizes and Massachusetts Cultural Council Fellowships. To register, and/or ask questions, contact the workshop administrator.

WHERE BRODSKY GOT IT

Below, an excerpt from the transcript smuggled out of Russia of Joseph Brodsky's trial in 1964 for "malicious parasitism":
JUDGE: And what is your profession?

BRODSKY: Poet. Poet and translator.

JUDGE: And who told you that you were a poet? Who assigned you that rank?

BRODSKY: No one. (Non-confrontationally.) Who assigned me to the human race?

JUDGE: And did you study for this?

BRODSKY: For what?

JUDGE: To become a poet? Did you try to attend a school where they train [poets] . . . where they teach . . .

BRODSKY: I don't think it comes from education.

JUDGE: From what, then?
BRODSKY: I think it's . . . (at a loss) . . . from God.

LIT FEST IN NEWBURYPORT

The Sixth Annual Newburyport Literary Festival will kick off Friday, April 29, 2011, with an opening ceremony at 6 pm at the Firehouse Center for the Arts, in Market Square, Newburyport. Events on Saturday, April 30, begin at 8:30 am with Morning Coffee with the Poets.

MARICK PRESS

This little outfit in Michigan is publishing little-known books of great quality. Last summer they brought out 7PROSE by Franz Wright, a slim paperback in a paper wrapper. A text from this collection, concerning Wright's visit to see a friend in a Boston mental ward, will appear in the forthcoming issue of The Charles River Journal.

SLOW POETRY DEFENDED


John Armstrong has issued a manifesto for Slow Poetry [read: Dense Verse]. Along these lines, readers might enjoy the poetry of Ted Richer, a poet living in Scituate. His poems often show a perfection of slowness via repetition; for example his poem "Secrets" at Public Republic. Below, a video of Richer reading several short poems (he starts at 38:11), the first of which was finished on the morning of the reading.

LAST READING AT TE PIERRE MENARD

The Liberation Poetry Collective presents a reading to launch a new book by Tontongi (aka Eddy Toussaint), and to say farewell to John Wronoski to the staff of Pierre Menard Gallery as they close for good after many years of artistic production. This Thursday, April 14th, 6 PM, at 10 Arrow Street, Cambridge. Open to the public; refreshments will be available. For information, call the Gallery at 617-868-2023.

FERRY WINS LILLY

Congratulations to poet and translator David Ferry, whose lifetime of accomplishment in letters has been recognized by the Poetry Foundation with the 2011 Ruth Lilly Poetry Prize.

EVERSON IN POETRY, MAZER ON EVERSON

Poetry's website relaunch has made the back issue contents more easily available than ever before... such contents as Landis Everson's poem from the October 2006 issue, "What's Wrong":
What you are struggling with," said
the psychologist, "is
a continuous song, something like
a telephone's tone. [...]
Not serendipitously, but sadly, I came across two poems written in memoriam for Everson while reading this  Saturday, and a third in Stephen Sturgeon's Trees of the Twentieth Century when a friend and I were paging through and talking about the collection on Sunday.

I think of a short poem by Greg Delanty:
For many are not here who were here before.
In Dark Sky Magazine last month, Ben Mazer wrote about his relationship with Landis, and how his collection January, 2008 grew out of the grief he felt when the older poet died in 2007.

MIT POETRY READING

Karyn Crispo Jones, Jillian Saucier, and James Eggleston will be reading their poetry at MIT this Wednesday, April 13, at noon, in Killian Hall (14W-111, in the Institute's nonce locational scheme). Part of MIT's Artists Behind the Desk events series.

WEAK SAUCE OF WORDS

Jessa Crispin, writing for The Smart Set, agrees with Goldsmith that it's all dross, but unlike Goldsmith does not see much value in setting oneself up as a dross broker:
Not even the most idealistic among the cultural critics bother to argue that the system is merit-based. She takes aim at the MFA industry, the overproduction of underdeveloped books, and at the shallow hunger of amateur writers.
Of course, her complaint is not new: "Of making books there is no end," said Ecclesiastes a few millenia ago. Brian Bauld, a retired teacher of secondary school English, has compiled a capacious round-up of sensible essays concerning books and the idea of books, many of which make the same point -- too much noise, too little music. His list of lit crit is also worth checking out.

KALOGERIS IN SLATE

George Kalogeris' first book Camus: Carnets (published by Bill Corbett's Pressed Wafer Press here in Boston) exemplifies the positive qualities of Quietude, and for many of us was a touchstone publication when it came out a few years ago. Slate magazine ran his new poem "Odysseus Seeing Laertes" last week. An interesting debate plays out in the discussion thread following the poem, between those who think the poem's allusion to ancient literature helps, and those feel it obfuscates.

BU FACULTY READING

The faculty of the Creative Writing Program will be reading TONIGHT, Tuesday April 12, at 6 PM in the Boston University School of Management Auditorium, 595 Commonwealth Avenue, Boston (Green Line to Blandford Street). With Leslie Epstein, David Ferry, Louise Glück, Allegra Goodman, Ha Jin, Ronan Noone, Sigrid Nunez, Robert Pinsky, and Maya Sloan. Free and open to the public. For more information, e-mail crwr@bu.edu.

CONCREPO IN BPJ

Speaking of glittery word-hoards cached in back issues archives, the Fall 1966 issue of Beloit Poetry Journal (Vol. 17, No. 1, edited by Stephen Bann) was devoted to Concrete Poetry. Don't be wary; the visual puns and calligrams and serious typographic playfulness on display are more evolved than the portfolio of contemporary 'vispo' works featured in Poetry in 2008.

*


More on words and art. In its exhibition catalogue for the 51st New York Book Fair, Bromer Booksellers has listed Thomas Ingmire's calligraphic interpretation of Octavio Paz's The Word (thumbnail above). If the list price of $5,500 seems beyond your wallet's reach, you can content yourself with learning more about Ingmire's work at Scriptorium St. Francis. To see more examples of contemporary fine calligraphy, visit the artists' websites listed at the website of The Society of Scribes and Illuminators, for a start.

*

The English artist and writer David Jones -- a core member of my personal canon -- also blended calligraphy into his work. In the video below, you can watch "David Jones at Capel y Ffin," an episode of the BBC series "Framing Wales: Art in the 20th Century."



I came to this video via a post on the blog David Jones: Artist and Poet, maintained by Kathleen Henderson Staudt under the banner of The David Jones Society in North America. Staudt's book on Jones and modern poetics, is quite valuable.

ABOUT THE ART OF BEING TALKED ABOUT

Robert Archambeau has been thinking about Kenneth Goldsmith lately, probably not least because Goldsmith has just had two provocative posts on the Poetry Foundation's Harriet blog: "The Bounce and the Roll" and "Death of a Kingmaker." RA writes: "It [Goldsmith's account of how poetry careers are created these days] all seems a bit caught up in the logic of fame, cultural capital, and the reputation market." RA wraps up at the end of his essay (an example that epitomizes really how well the blog format suits this kind of informal discourse) by observing how the pendulum swings: where once the fashionable thing was to denounce text and scramble after reputation directly, it might now be thought more risky, more daring, to renounce status, and instead crawl unnoticed into a cave to write runic verse on the rocks. (Corollary: The School of Quietude is a cabal of meditative radicals.)

Joseph Wood concerns himself with similar questions and hypotheses, albeit with more existential squirming, in Open Letters Monthly. Wood seems disquieted by the same status game that Archambeau noncommittally calls a "hedonic treadmill." I myself can see how the person who starts each day by checking blog stats and whether she earned a mention on Silliman's Blog, resembles those Danaïd daughters trying to carry water with a sieve.

In a recent post, Henry Gould grapples with similar issues, though his starting point is Pushkin. He writes:
The kind of literary activity I am idealizing can only be developed on the fertile ground of literary tradition.
Does Gould know he's channeling Roger Shattuck's "Nineteen Theses on Literature"?

*

Issue 27 of AGNI (1988) featured a symposium titled "'Lairs of God': Spirituality after Silicon Valley." Eliot Weinberger contributed an essay, titled "Is God Down?", which seems relevant two decades later, to this question of how technology and poetry relate, whether by mediation or obstruction. This is from Weinberg's conclusion:
Finally, the less important question of computers and literature: is the writer a robot, or has the robot become a writer? To take the second question first: certainly the computer has forever proved that a thousand monkeys typing at a thousand typewriters for a thousand years will not produce Hamlet. There are a few serious writers who have made use of hte computer (not as "word processor") to "generate" texts, most notably Jackson MacLow and the members of OULIPO. These are not, as would be assumed, impersonal: behind each text is the human who programmed it. The results are weird or amusing, the ultimate pleasure deriving mainly from seeing the rules of the game put into action, like extremely complex poetic forms: chant royal, say, or Chinese poems that can be read forwards or backwards.
The typewriter certainly had an effect on the writing of poetry. It is impossible to imagine the stepped lines of Williams, Paz, and so many others without it. Pound's Cantos makes much more visible sense in his manuscript than on the printed page, and Robert Duncan in later years insisted that his books directly reproduce his own typed manuscript. With the advent of "desktop publishing," there will no doubt be poems that take advantage of its various features, including the mixing of type styles. (I know of only one poet, Jed Rasula, who has done so to date.) Furthermore, the computer has democratized certain tricks of the trade. Auden's far-reaching and witty rhymes lose much of their charm after a glance through the computer-generated Penguin Rhyming Dictionary (with its hundred rhymes for "Freud," but only one, "broaden," for "Auden"). Rhyme-- lately championed again by young conservatives-- becomes more than ever a question of selection rather than invention. But this is not "word processing," that wonderful phrase that turns writing into packaged cheese. (Poets, said Chesterton, have been strangely reticent on the subject of cheeses.) Word processing is essentially a means of manuscript production that eliminates retyping.

He makes a good point about the execution of rules providing pleasure of a more durable kind than that deriving from the mere concept of rules (as in Goldsmith's books that he tells people not to read). As a grace note on this pell-mell of material, here's Wisława Szymborska giving advice to "Mr. K.K. from Bytom" in an excerpt from her newspaper column on poetry:
You treat free verse as a free-for-all. But poetry (whatever we may say) is, was, and will always be a game. And as every child knows, all games have rules. So why do the grown-ups forget?

Writers who would rather be rune-carvers and in caves instead of cities, might want to buy a ticket to see Herzog's new film, Cave of Forgotten DreamsSh.