A Serbian in Chelsea

Toni and I introduced Serbian poet Dubrava Duric to Chelsea yesterday. Toni performed one of her incomparable Chelsea tours. No time now to write a long post but two shows you must not miss are:

Leonardo Drew Leonardo Drew lives in New York and before that in Tallahasse, Florida.

Tobias Putrih's *Macula series A & 1"*, which was the star of the under and 30 something artist's show at "PS 1's Greater New York 2005", is on view at Max Protetch, 511 W. 22cd Street. Dubravka was saying the her husband Misko, who is a literary theorist in Belgrade, liked to spend time with friends in Slovenia. As it happens, Putrih was born there, and his latest work is the Slovvenian offering for the 2007 Venice Biennale. The Putrih large, biomorphic shaped cardboard sculptures are eerily monumental while remaining light-porous and delicate

The Poem Adrift

Peter Ciccariello

Invisible Notes

This just in from Mark Young

Otoliths 5
has just gone live, which means it's a year old today.


It's also May Day, so arise & join in a chorus of The Internationale with Paul Siegell, Andrew Topel, Jordan Stempleman, Ernesto Priego, Paolo Manalo, Eileen Tabios, Jeff Harrison, Katrinka Moore, Corey Mesler, Raymond Farr, Steve Rodgers, Robert Lee Brewer, Mark Cunningham, Martin Edmond, Steve Timm, James Sanders, Audacia Dangereyes, Thomas Fink, Spencer Selby, Maria Zajkowski, Richard Lopez, Marcia Arrieta, Tom Hibbard, Matina Stamatakis, Louise Landes Levi, Márton Koppány, Anny Ballardini, Jill Jones, Craig Santos Perez, mIEKAL aND, Dax Bayard-Murray, Ed Schenk, MTC Cronin, Alana Madison, Alexander Jorgensen, Andrew Taylor, Carol Novack (& Stan Crocker), Stephanie Green, Maurice Oliver, Caleb Puckett, David-Baptiste Chirot, Derek Motion, James Maughn, Michael Rothenberg, Tom Beckett, Nick Piombino & Richard Kostelanetz as they "change henceforth the old tradition".



Enjoy.



Mark Young

(The link on the Internationale was added in by *fait accompli*; it is one day ahead in Australia; here we are celebrating May Day one day ahead in honor of Otoliths)

King of Brooklyn


Amy King has won the poet laureate poll conducted at Billy the Blogging Poet's site,
She gained-last I saw- 233 votes in all; her closest competitor Collin Ferrell scored about 160.

Amy is directing MiPoRadio, a poetry series in Brooklyn, and she is the first full time moderator/editor at the Buffalo Poetics list.

Her recent book is *I'm The Man Who Loves You" from blazeVOX
=
Her blog is at Amy King.org

Congratulations, Amy!

As of Midnight Saturday, Amy King was leading by about 10 votes!


Poet Laureate of the Blogosphere

Voting ends by Midnight tonight!

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Thanks to
wood s lot for the link to Tom Beckett's "What are you willing to sacrifice to keep working as a poet"
Also featured on WordPress.com
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Sub-Conscious

When the history of blogging is written, one blog that no one will ever forget will be Katie Degentesh's Bloggedy Blog Blog. It's in the realm of the eternal "why didn't I think of that?"

Anyway, so I was waiting for the subway at the Grand Army Plaza stop the other day listening to a very young girl, who was walking down the subway stairs with her hand in her mother's hand, saying, in a tiny voice, but quite loudly: "I love you train, I love you train, I love you train."

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Poetry on the Bowery


Charles Bernstein and Tenney Nathanson read to a packed and pleased house yesterday afternoon at the Bowery Poetry Club. Charles, whose stand-up, or "hunched over" comedian persona was in top form, did an impromptu duet with surprise visitor from Serbia, Dubravka Duric, (whose 2002 book includes translations of and writing about US poets including Charles B, Bruce Andrews, Douglas Messerli, James Sherry, Bob Perelman, Ron Silliman, Bob Perelman, Michael Palmer, Lyn Hejinian, Charles Olson, John Ashbery, Robert Creeley, Ezra Pound, Amiri Baraka, Robert Duncan, Jack Spicer, David Antin, Jerome Rothenberg. Rae Armantrout, Barrett Watten, Rachel Blau DuPlessis, Carla Harryman, Clayton Eshleman, yours truly and many others) with Charles quipping that his translation of her poetry reflected a better understanding of her native language than the language of George Bush and Dick Cheney. Host Tim Peterson introduced Tenney Nathanson as his mentor, friend and teacher. Nathanson seemed surprisingly at ease in front of the famously picky Manhattan audience at the BPC and when I talked with him later I learned that he had lived in New York frequently over the years although he lives and teaches in Arizona now. Nathanson and I knew a lot of people in common including critic and literary theorist John Johnston. Johnston lived in the loft downstairs from me in Soho in the early 70's, when I lived briefly downstairs from artist Susan Rothenberg. Nathanson studied at Columbia under Kenneth Koch and David Shapiro whose echoes could be pleasantly heard in between the lines of his excellent poems.

Celebrities in the audience included Ted Greenwald who, as Charles B noted, founded the Segue Series with Charles 30 years ago, neither, of course, expecting the series to endure in the striking way it has. James Sherry, whose Segue Foundation has supported the series from the beginning, was present as well. Other notables spotted included Susan Bee (who will read and present her art next Saturday with Johanna Drucker including one of their collaborations). Other notables present known to me included Fiona Templeton, Mimi Gross, Corinne Robins and Sal Romano, Ann Tardos, Tan Lin, Dan Machlin, Thom Donovan, Nada Gordon, Adeena Karasik, Simon Pettet, Bruce Andrews, Mark Weiss, Gilbert Adair and no doubt many others I have not yet had the pleasure of meeting. I also spoke with poet Allen Brafman who is interested in getting more public notice for the superb poetry of his acquaintance, the great, late Frank Kuenstler, author of such classics as *Lens* and In Which.

To Go Against

Ernesto Priego (Never Neutal) continues the discussion Tom Beckett began with his Burning Bridges Post on Soluble Census

**

Enthusiastic response from Allen Bramhall

for Tom Beckett's recent poetry and interview collections Tributary

and from Crag Hill for the Interview Anthology- whose interview opened up Beckett's interview series (includes a screen shot of the Interview Anthology cover) Poetry Scorecard

Mark Young and Tom Beckett are planning further anthologies of Tom Beckett's ongoing interview project- from Otoliths Books


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Charles Baudelaire

from "Mon Coeur Mis a Nu"

"*Hygiene.- Projets*- Plus on veut, mieux on veut. Plus on travaille, mieux on travaille et plus on veut travailer.
Plus on produit, plus on devient fecond.
Apres un debauche, on se sent toujours plus seul, plus abondonee
Au moral comme au physique, j'ai toujours eu la sensation du gouffre, non seulement du grouffre du sommeil, mais du gouffre de l'action, du reve, du souvenir, du desir, du regret, du remords, du beau, du nombre, etc..."

from *My Heart Laid Bare"
"Discipline. Plans.* The more one wills, the better one wills.
The more one works, the better one works and the more one wants to work.
The more one produces, the more fertile one becomes.
After a debauch, one feels more alone, the more deserted.
Morally and physically, I have always had a sense of the abyss, not only the abyss of sleep, but the abyss of action, dream, memory, desires, regret, remorse, the abyss of the beautiful, of number, and so on..."

Blogger Laureate


Voting Begins for Blogger Laureate at Billy TBP

When I voted yesterday, Amy King was neck in neck with a blogger I don't know, both with 36 votes.

K Silem Mohammed is running also, but had 8 votes when I voted yesterday.

>>>>>>>>
On My Desk

Noah Eli Gordon, *A Fiddle Pulled from the Throat of a Sparrow*, New Issues (Western Michigan U)
Unlike Gordon's other books these are versified poems not prose poems like the poems in The Frequencies.

The section called "Four Allusive Fields" has four poems about Cy Twombly:
with an epgraph by Roland Barthes.

"Cy listens absently to absent Homer
explaining himself away.Boring as a canvas
to a waterfall, as a splotch of red to equations
lifting a helicopter, injured by a display of attentiveness
can you believe the humming, anonymous light."

These four interrelatied poems are pleasingly reminiscent of Berrigan's Sonnet series.


Noah Eli Gordon, *The Area of Sound Called the Subtone*, ahsahta press
(mostly prose poems with a sequence of versified poems including the title poem)

"a bomb?=a word=the truth in things other
than subtones burning a hole in the ozone or passing through
the brain-case & out the ear-hole. the fire has blue legs, shoes
like rain."

**

"if the expressivities of the human face are mirrored
in the eyebrows of dogs, if they learn because we tell them to, if
someone fills out an application in a few minutes, lands a
job, makes dinner, dreams herself an ownership, then are we
stealing from or assembling one another?"

Noah Eli Gordon, *Inbox*, Blaze Vox
(a run-on compilation of 200 emails received from NEG's friends and associates, reprinted anonymously with permission from the writers)

'She later admits that she's out of it because of diaper-changing and also that she doesn't believe in the communities she claims not to know of...So I don't know; you might want to write a letter to her. She may tell you you're too old to fall under the banner of the younger crowd. I mean, you're 28? That's only six years behind Ange."

"Hey, I love the way it moves, Alban Berg-like shifting melodiousness, fired through atonal relay points. I love, too, how Catullus suddenly appears with the beetles (I thought at first "The Beatles"). Nice Job! I'd send it to John Tranter, see if he'll put in the section? I'll bet he would. Shapiro is a poet long past due the praise he IS due. Hey fucker, you're just lucky they let you stay this long! I went in, went $40,000 in debt, and then was given the boot all within two years. So I don't want to hear about leaving the cushy MFAland."

I'm Already Packed (One Carry-On)


Habitable Planet Outside The Solar System

Nobody Knows The Truffles I've Seen


We are honored and delighted to announce
a mini-review of fait accompli, the book, is just out from Sharon Mesmer.


Virgin Formica

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Contradicta


If you speak in a voice too low no one will hear you. If you speak in one too loud no one will listen. If you say too little no one will understand. If you say too much, no one will care to understand.



********************



As with everything else of significance, happiness must be pieced together gradually, like a jig-saw puzzle- only to be pulled apart and put together again and again.




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On My Desk

*E-x-c-h-a-n-g-e-V-a-l-u-e-s The First XI Interviews*, curated By Tom Beckett

Otoliths Books

From the Jean Vengua interview with Tom Beckett:

"I don't have a clear sense of my poetics, other than what I discover from the conversation of poetry that I'm engaged in.I'm constantly escaping my own grasp. Maybe the names of the crossroads are the One and the Other, in the sense that, when I write, I can sometimes thankfully shed my own skin and become the other. Who am I today? What road will I take? And whose road is it? Is it a private, or a public road, and do I feel like trespassing today?

I guess I'm an escape artist at heart. I don't like being pinned down.

On the other hand, I'm always reeling myself in to face the political, the material contexts in which I exist. So maybe you could say that my poetics, as it is, rather than what I want it to be, is sort of impossibly torn, between wanting to cast myself out into the ether as far as possible, yet wanting, needing, to be fully participant in society, making a difference with my language, or hoping, at least, that that is possible."


Each interviewee is represented by a selection of their work.


from AND CALLED IT MILK by Thomes Fink

"Count it Higher has a boring face
He's fascinating
he doesn't talk.

I take care of that
by making his good-boy life
as it bubbles along my video.

His face started to cry
when I gave him candy.

Candy's like a mommy without a brain..."

this just in
via buffalo poetics list


Help Save Small Magazines

by Robert Mcchesney -

The news media are covering the tragic murders in Virginia this morning, and as they do an extraordinarily significant story is slipping through the cracks.

On very rare occasions I send a message to everyone in my email address book on an issue that I find of staggering importance and urgency. (My address book includes pretty much everyone who emails me in one form or another, and I apologize if you get this message more than once.) This is one of those times.

There is a major crisis in our media taking place right now; it is getting almost no attention and unless we act very soon the consequences for our society could well be disastrous. And it will only take place because it is being done without any public awareness or participation; it goes directly against the very foundations of freedom of the press in the entirety of American history.

The U.S. Post Office is in the process of implementing a radical reformulation of its rates for magazines, such that smaller periodicals will be hit with a much much larger increase than the largest magazines.

Because the Post Office is a monopoly, and because magazines must use it, the postal rates always have been skewed to make it cheaper for smaller publications to get launched and to survive. The whole idea has been to use the postal rates to keep publishing as competitive and wide open as possible. This bedrock principle was put in place by James Madison and Thomas Jefferson. They considered it mandatory to create the press system, the Fourth Estate necessary for self-government.

It was postal policy that converted the free press clause in the First Amendment from an abstract principle into a living breathing reality for Americans. And it has served that role throughout our history.

What the Post Office is now proposing goes directly against 215 years of postal policy. The Post Office is in the process of implementing a radical reformulation of its mailing rates for magazines. Under the plan, smaller periodicals will be hit with a much larger increase than the big magazines, as much as 30 percent. Some of the largest circulation magazines will face hikes of less than 10 percent.

The new rates, which go into effect on July 15, were developed with no public involvement or congressional oversight, and the increased costs could damage hundreds, even thousands, of smaller publications, possibly putting many out of business. This includes nearly every political journal in the nation. These are the magazines that often provide the most original journalism and analysis. These are the magazines that provide much of the content on Common Dreams. We desperately need them.

What the Post Office is planning to do now, in the dark of night, is implement a rate structure that gives the best prices to the biggest publishers, hence letting them lock in their market position and lessen the threat of any new competition. The new rates could make it almost impossible to launch a new magazine, unless it is spawned by a huge conglomerate.

Not surprisingly, the new scheme was drafted by Time Warner, the largest magazine publisher in the nation. All evidence available suggests the bureaucrats responsible have never considered the implications of their draconian reforms for small and independent publishers, or for citizens who depend upon a free press.

The corruption and sleaziness of this process is difficult to exaggerate. As one lawyer who works for a large magazine publisher admits, It takes a publishing company several hundred thousand dollars to even participate in these rate cases. Some large corporations spend millions to influence these rates. Little guys, and the general public who depend upon these magazines, are not at the table when the deal is being made.

The genius of the postal rate structure over the past 215 years was that it did not favor a particular viewpoint; it simply made it easier for smaller magazines to be launched and to survive. That is why the publications opposing the secretive Post Office rate hikes cross the political spectrum. This is not a left-wing issue or a right-wing issue, it is a democracy issue. And it is about having competitive media markets that benefit all Americans. This reform will have disastrous effects for all small and mid-sized publications, be they on politics, music, sports or gardening.

This process was conducted with such little publicity and pitched only at the dominant players that we only learned about it a few weeks ago and it is very late in the game. But there is something you can do. Please go to www.stoppostalrateh ikes.com and sign the letter to the Postal Board protesting the new rate system and demanding a congressional hearing before any radical changes are made. The deadline for comments is April 23.

I know many of you are connected to publications that go through the mail, or libraries and bookstores that pay for subscriptions to magazines and periodicals. If you fall in these categories, it is imperative you get everyone connected to your magazine or operation to go to www.stoppostalrateh ikes.com.

We do not have a moment to lose. If everyone who reads this email responds at www.stoppostalrateh ikes.com , and then sends it along to their friends urging them to do the same, we can win. If there is one thing we have learned at Free Press over the past few years, it is that if enough people raise hell, we can force politicians to do the right thing. This is a time for serious hell-raising.

And to my friends from outside the United States, I apologize for cluttering your inbox. If you read this far, we can use your moral support.



From the bottom of my heart, thanks.


Bob


Robert W. Mcchesney www.mediaproblem. org www.freepress. net Department of Communication University of Illinois at Urbana-Champaign



Be well

David Baratier, Editor

Pavement Saw Press
PO Box 6291
Columbus, OH 43206
http://pavementsaw.org

Big Surprise


Study Says Chimps More Evolved Than Humans

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On My Desk


Nancy Shaw, "Affordable Tedium", Tsunami

"From the far room a voice returns as so many facts.

Wrapped lips encumbered gently in her younger days.

Some days he takes long walks.

Along the beach they wept in solitude.

And now only long glances across the view.

She was to have married soon on another Sunday.

Some streams are blue."

On My Desk


Kate Greenstreet, *case sensitive*, ahsahta press, Boise State University

(from "[SALT]"
"8 [will become rock hard but never lose its taste]"

"A funeral. I had to speak. The words just came.
There were so many dead.
Even as we were burying them, no one was sure who was who.
Everyone was saying what they'd take, if they could only take one thing.
The men would be allowed two things, and nobody knew why."


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Gwyn McVay, *Ordinary Beans*, Pecan Grove Press

(from "Grief Psalm, For Large Ancient Rock Band")

"...there was a car crash here, say the flowers, and in that
crash someone died. I make my own flowers out of newspaper:
how my playmates have grown and gone on.

"I will apply the lipstick of greatness, the limestone mascara of
love. Need I say? There are few rubber dogs in the hills these days.
I mean steam that rises from a body.

"Don't think for a second you haven't become alien, part water,
part of the bathtub you scrub with Dr Bronner's Soap, All-
One. Some kind of rising creature.

"I will let my mascara to dry, then put on the dark glasses of a fool
and hum. Oh sisters, let's go down, down to the river, sisters, let's
go down. O sisters, let's go down, down to the river to pray."

Bemsha Sting

I remember when, years ago. Laurable erased all her blog links with
the single line, "too many poetry blogs."

Looks like Jonathan Mayhew (Bemsha Swing) just erased his, a few days after expressing some
minor dissatisfactions with Ron Silliman's blog.

The only reason you don't see a link list on my blog is that I don't know how to do this on New Blogger. Nada Gordon has promised to walk me through doing this. It was Jonathan Mayhew who, several years ago. first taught me how to put a link on my blog!

>>>>>>>>>>>>>>>>>>>>>>>>>>>>

On My Desk

Aaron Belz, *The Bird Hoverer*, Blaze/VOX,
"My name is Anatoly Karpov. Excuse my
beleaguered appearance, I have spent two
excruciating weeks tutoring the biggest
dumbass in the chess world..."

Tom Beckett, "Unprotected Texts*, Meritage
"Elliptic seizures./Unacknowledged quotations/
increase and are better comprehended"

Alan Davies, *Book 5*, Katalanche
"I wake up/feigning/ wakefulness"

Katie Degentesh, "The Anger Scale", Combo
"as long as we're laughing/ at Rush Limbaugh's addiction/
remember that Mt. Rushmore was itself/
the creation of an ardent member of the Ku Klux Klan"

Elaine Equi, "Ripple Effect", Coffee House
"Fountains, I realized, are thirsty too-/
for company"

"The Diary of Anne Frank", Pan Books
"I wonder whether you can tell me why it is that
people always try so hard to hide their feelings."

John Gedo, "Beyond Interpretation:Toward a Revised
Theory for Psychoanalysis", International Universities Press
"To repeat, we no longer attempt to illuminate all of human
behavior in terms of derivatives of the unresolved conflicts
of the Oedipus Complex"

Nada Gordon, *Folly", Roof Books
"O! Rend my heart with ev'ry pain!
But let me, let me love again!"/
And while you're at it,'/
fix-the-fucking-/
voting machines."

Franz Kafka, *The Zurau Aphorisms*, commentary
by Roberto Calasso, Shocken Books,
"A cage went in search of a bird"

Amy King, "I'm the Man Who Loves You", Blaze Vox
"Though muffled, new holocausts/trace the Cinderella
myths/They tunnel from echoes ago/into sparks
of souls ignited"

Mitch Highfill, "Konig's Sphere", Situations
'Knock-knock./Click-click./Hand emerges from cloud"

David Markson, "The Last Novel", Shoemaker Hoard
"In the Spring of 1944, at the height of their efficiency,
the forty-six ovens in the crematoriums of Auschwitz were
incinerating as many as twelve thousand corpses per day"

David Shapiro, "New and Selected Poems (1965-2006), Overlook
"They have used the bodies of children/
As improvised bridges/Which they later cross"

Vanitas 2, edited by Vincent Katz,
"Nico, famous Nico/, who once sang a dirge-like version of/
"Deutchland, Deutchland Uber Alles"/swore to solemn Lou/
she'd come tonight to the band's one night reunion./
But night's almost gone- soon day will be creeping/
like dirty rain through its gutters."
Jerome Sala

Nico Vassilakis, "pond ring e", nine muses
"I will ask you to whisper/a list of inventions/in my ear"

Mark Young, "the allegrezza syndrome", Otoliths
"There isn't a person alive who can truthfully say/
that they have never waited in vain for their lover"

Bill Zavatsky, "Theories of Rain", Sun
"We are dumbbells you exercise in the night! We are stupid/
ambassadors hijacked pants-down in flight ,colonials/ stabbed
by parrot revolutionary fever-for a moment exulting, soaked with
blood of the absolutely free.../ the fabulous blood of
you and me"

*A Face in the Crowd*

the classic 50's film directed by Elia Kazan portraying corrupt and manipulative practices emerging in the early days of tv, echoes pungently recent newsworthy events concerning the descent of the infamous Imus (not to speak of the film's many other prophetic aspects such as anticipating the significance of media talk show hosts in the explosive growth of the evangelical movement, with its similarity to the Nazi movement of the 1930's.)

In the final scenes, character Mel Mller (played by Walter Matthau) says to Lonesome Rhodes (Andy Griffith): "What's going to happen to you, I'll tell you what's going to happen to you. You'll get a show alright, but it won't be a major network like you had before. Some station after a little while will say, 'L'et's try him again. He was big.' You'll have an audience,but it won't be hundreds of millions you had before . You'll make money, but it won't be the same kind of money..."

Contradicta




To dismiss minor pains is to savor small pleasures.




*****************************




When cooking up ideas, ambition is the flame but patience is the chef.

New work from harry k stammer on PFS Post (edited by Adam Fieled)

PFS Post


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On My Desk

Tom Beckett, *Unprotected Texts:Selected Poems, 1978-2006*, Meritage
""& I feel like a sentence/trapped in the body/of a paragraph"

Elaine Equi, *Ripple Effect*, Coffee House
"even if you don't know a thing/ about poetry,/at least help me decide/what to wear."

Brenda IIjima/Austin Publicover,*Council of Worms*, CD, Portable Press at Yo-Yo Labs
"before language you could always whimper"

Catherine Imbroglio, *Parts of the Mass*, Burning Deck
"The rhythm and interval between objects"

Jonathan Lethem, *You Don't Love Me: A novel*, Doubleday,
"The band didn't have a name yet, though they'd discussed it hundreds of times."

David Markson, *The Last Novel*, Shoemaker Hoard
"People are exasperated by poetry which they do not understand, and cotemptuous of poetry they do understand without effort.
Said Eliot"

Douglas Messerli, *My Year 2005: Terrifying Times*, Green Integer
"I realized that, in a sense, language never quite stopped in the Austin's house"

Bob Perelman, IFLIFE, Roof
"Avant-garde is middle aged, but romanticism is forever young. Dorian Gray"

Jordan Stempleman, *What'sThe Matter*, Otoliths
"drawing past brackets for a source,/ the companion of a modern poem/sounds in the bits from turbulent men,/no clear end the language trades to see"

David Shapiro, *New and Selected Poems (1965-2002), Overlook
"James Bond's girl friend/Lay in bed, having/a bad dream during a thunderstorm"

Nico Vassilakis, *Diptychs*, Otoliths
"Beckett's Weather"

Nico Vassilakis, *Ring*, Nine Muses Books
"the ease at which/your every effort gets/absorbed into history"

mark young, *the allegreza sydrom*, Otoliths
"The Iranians lay claim half the floor of the Caspian sea....The Anericans want to build a pipeline across the floor of the Caspian"

Bill Zavatsky, *theories of rain and other poems*, Sun
"I have built the rain/alone in my room"

Bill Zavatsky, *Where X Marks the Spot*, Hanging Loose
"Oh, I must have also/ failed poetry somehow! What am I/
going to do?"

Honor Thy Cast of Thousands (with Tons of Laughs)

Nada and Gary come over to watch The Ten Commandments. Gary reports on that and progress on Elsewhere #3:Toni's Baked Fried Chicken

We had a laugh a minute wisecrack- a- thon watching this classic Bollywood before the fact.

Contradicta




The child in us: perpetually impatient, hurried, earnest, astonished.




**************************




Nothing ventured, nothing pained.

Contradicta




Two steps forward, one step horizontal




***************************




The perennial paradox: impatient to finish it, wishing it wouldn't end

Gulliver's Corner: Anny Ballardini's Project Takes Giant Steps


Anny Ballardini's fieralingue

The Last Novel

David Markson's newest book, *The Last Novel* is just out from Shoemaker Hoard. Except for a few hours work, and dinner, I was unable to close this book, yesterday, the same day I purchased it, until the last word. It is unquestionably one of Markson's greatest works, an incandescent, elegiac, gnomic masterpiece, satirically and hilariously critical of human stupidity and cruelty, yet passionately, reverently and knowledgeably reflective of human brilliance and accomplishment throughout history. His other works include *Wittgenstein's Mistress*, *Reader's Block* and *This is Not a Novel*.

A few tidbits:

"He who writes artistically dies without recognition or reward.
Complained Lope de Vega- in 1609"


"Our father who art in heaven/Stay there.
Requested Jacques Prevert."


"I am no Einstein.
Once said Einstein."

"It's later than you know.
Printed Baudelaire on the face of his clock- after having broken off its hands."

Are Those Rag Dolls Lying There in the Poet's Corner?

Wait a minute...they're all standing up...they've got their arms out...they're walking towards me...


Tom Beckett's Little Book of Zombie Poems designed by Mark Young

**************************************
"The academy of my dreams is opening its doors..."
(Ted Berrigan)


In my dream last night I was in the subway looking for Uijongbu. I try to call somebody from the dark platform but two tough guys start to approach me. When I woke up I remembered where the word was from and then I had a very strong, sad feeling of missing Ted.

I remembered this:

"It is 8:54 a.m. in Brooklyn it's the 28th of July and
it's probably 8:54 in Manhattan but I'm
in Brooklyn I'm eating English Muffins and drinking
pepsi and I'm thinking of how Brooklyn is New
York city too how odd I usually think of it as
something all its own like Bellows Falls like Little
Chute like Uijongbu"

-Ted Berrigan's *Sonnets* (Grove Press, 1964)

I looked up Ted Berrigan in the Wikipedia. It turns out Ted served in the army during the Korean war.
From Wikipedia, the free encyclopedia

Ted Berrigan (15 November 1934 - 4 July 1983) was an American poet.

Berrigan was born in Providence, Rhode Island, on November 15, 1934. After high school, he spent a year at Providence College before joining the U.S. Army in 1954 to serve in the Korean War. After three years in the Army, he finished his college studies at the University of Tulsa in Oklahoma, where he received a B.A. in English in 1959. He received his M.A. from Tulsa in 1962. Berrigan was married to Sandy Berrigan, also a poet, and they had two children, David Berrigan and Kate Berrigan. He and his second wife the poet Alice Notley were active in the poetry scene in Chicago for several years, then moved to New York City, where he edited various magazines and books.


Uijeongbu
From Wikipedia, the free encyclopedia

Uijeongbu is a city in Gyeonggi Province, South Korea. Its geographical location is 37°45′N 127°3′E.
The city is located just north of Seoul with many U.S. and Korean military bases for the defense of the Korean capital. The U.S. Second Infantry Division has established its headquarters in the city with main troops deployed in Dongducheon City.
In M*A*S*H, this city (then just a village) served as the home of MASH 4077.

Contradicta



When intrusion becomes a right all other rights lack teeth.




*
********************************




I don't care much for birthdays or most holidays. That every day is assigned a number, a first name and a surname, and every moment labelled with another number provides more than enough temporal bureaucracy for me.

*Folly* on the Roof

Nada Gordon's new book from Roof Books,*Folly* was celebrated yesterday at the home of the publisher, James Sherry. Terrific performances were offered by Sharon Mesmer (who "roasted" Nada with Henny Youngman type witticisms), Mitch Highfill, Marianne Shaneen, Brenda IIjima, Gary Sullivan, Katie Degentesh and Nada herself joined in to read from the book, which features a knockout cover by Gary Sullivan, with assistance from Nada herself. The room was filled with huge smiles, delighted laughter, and palpable excitement about Nada's new book, some good food and, from what I could tell, some damn fine wine as well.

At one point, James Sherry and Nada read from a funny and fascinating "process" dialogue based on emails the two wrote to each other during the editing stage of the book. Toward the end of the party, James and Deborah reminisced that this was among one of the most terrific book parties ever given in the loft. I agreed, having attended events there to celebrate Roof and Segue books since the late seventies. Other Roof book writers in attendence were Charles Bernstein, Susan Bee, Abigail Child, Kim Rosenfield and Drew Gardner. Other luminaries present included Ann Tardos, KIm Lyons, Toni Simon, Deborah Thomas, Douglas Rorhschild, Bill Marsh and Octavia Butler, Michael Scharf and no doubt many others I have yet to meet!


This was a weekend of book parties (David Shapiro, Elaine Equi [see link to photo below], Nada Gordon) I will long remember. I have a lot of poetry to read, some new, and some I have long admired, that I will without doubt hugely enjoy.

Celebrating Elaine Equi's *Ripple Effect*, New and Selected Poems
a photo by
Star Black
Charles Bernstein, Stephen-Paul Miller, Bob Perelman, Bill Zavatsky,
Meredith Walters, Francie Shaw, Toni Simon, Nick Piombino,
Susan Bee, Elaine Equi, Jerome Sala
(via Charles Bernstein's Web Log)

Contradicta




Through all of our suffering, existence itself shines above it like a star.





*********************************




What is known to every object and every living thing in the world except human beings is how to be at rest.




>>>>>>>>>>>>>>>>>>>>>>>>>>
Big Bridge Feature: Your New Face-
Poet/Artist Collaborations

Tony Scott dies

Toni and I are saddened today by the death this week of the great jazzman, Tony Scott who played his sax and clarinet on a number of classic Billy Holiday songs, creator of *Music for Zen Meditation* and many other great albums. He was Toni's namesake, having been discovered by Toni's father Bill Simon, who he roomed with in the early days of his career. He will be greatly missed. He lived in Rome in the latter part of his life, and is survived by his wife Cinzia, who lives in Rome, two daughters and a grandchild.

NY Times Obit for Tony Scott

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Elaine Equi's reading at Cue last night was a joy. Check out the rave review for her book of new and selected poems *Ripple Effect* in the Sunday NY Times Book Review The Air is Full of Secrets

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This is a week of poem dedications. Here is one Norman Fischer wrote a while back and sent to me today.

Writing out directions to the location
Is a monument accompanied by drums
Persuaded by the daily round to search for
Any hour to take seriously,
Mining the very thoughtfulness
Finally for something here to holler at – or on –
Of bills to be paid, the settled wonder of words
That are debts, in places, numbers on a page
Lit up and constantly fading or morphing
Into higher and lower figures, going after
The unsayable, going away in a huff –

Some other day there’s another way
In the middle, very exhausted, an assortment
Of pains for your delectation, comfort
Of being alive. Sauntering down Light Street
Or in the park conversing passionately
Is there anything determined under the sun?
A gathering of poets huddled on the pavement
Is a simulation of interested practice
A preservation of the evolving species
That has co-oped the absolute in sputterings
Of exalted speech

(for Nick Piombino)

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

No Ledge

a dedicated poem from

Mark Young (gamma ways)

**********************

time March's on

Date: Tue, 2 Mar 2004 01:32:04 -0500
Reply-To: UB Poetics discussion group <[log in to unmask]>
Sender: UB Poetics discussion group <[log in to unmask]>
From: Nick Piombino <[log in to unmask]>
Subject: Start an Argument on the Buffalo List
Content-type: text/plain; charset="ISO-8859-1"

Blaming the blogosphere for what is lacking on the poetics list is an old tradition,(old in internet-time) and sounds to these old poet's ears like a cry of pain. This is not unusual from Mr. Sondheim, whose precision of perception is not the least bit
lost on a great number of poets, despite its many fascinating, complex camouflages.

What a poet needs, especially a long distance marathon poetry runner, is response. Some say there is never enough response for an artist, and that might be true, especially for those who crave the energizing, potentially infinitely expanding cycle of signal and response between artist and audience.

It may sadden, alarm and confuse some to hear, given its tawdry, tinny surfaces, that this is exactly what is delighting and challenging many writers in Blogland. But the cycle (of signal land response), that is occurring in this situation is unlike any that has ever existed before, in the world of letters, it seems to me, and is not at all subsumed under the model shaped by the cycle of argument and debate, the taste for which is no doubt being stimulated (for some) by the pathetically tired old
clichéd debates now going on in the mostly false and fraudulent US election process: another kind of Academy Award ceremony that is not even funny anymore.

Though many realize all of this movie academy and election academy sturm and drang is almost completely devoid of meaning (not significance, of course), does not prevent the emergence of the mentally stimulating, imagination-
appetizing aspects of the spectacle of debate, an ancient mode of provoking the discovery and identification of greatness. But this election process is the clearest proof of Guy Debord's theories anybody could ever want to see. The Society of the Spectacle is beyond crisis; it is moribund.

Can I wonder aloud if this argument and debate method of exchanging knowledge and inducing change, discovering truth, and uncovering greatness is totally bankrupt? What might replace it? What could replace it?

Something is happening in Blogland and you don't know what it is, do you, Mr. Jones?

affectionate regards to my list friends and literary comrades,
Nick Piombino

Contradicta



Those who never ask you questions have decided on all the answers for themselves, answers your future conversations will never change.




**********************




No time to waste, no time to taste.


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Drew Gardner reviews Bob Perelman's recent BPC Reading


Overlap

****************

Contradicta



I never stop learning because I never stop making mistakes, or having to deal with the mistakes of others.




********************************




The old love the morning when life begins again; the young love the night they think will never end.

Close Listening/PS 1 Readings and Interviews


Alan Davies (reading from his new chapbook), Ann Lauterbach, Richard Tuttle, Mimi Gross and many
others chat with Charles Bernstein and read online
***********
I Can't Wait

to read, in their entirety, two books I just received and very pleasurably dipped into. Tom Beckett's *Unprotected Texts*
(Meritage Press, 2006) and Mark Young's *the allgrezza ficcione* (Otoliths,
2006)

Tom Beckett: "Poetry is relationships. That's my naked truth."

Mark Young: "There was also a book by Ptolemy, that seemed to be made up of footnotes to another work of his, a kind of growing self-doubt about his own beliefs, that finishes with a small poem:

The
Sun- the
Universe's true centre?"

King of The Brooklyn School

Like the fabled NY School of old, Amy King's new *I'M THE MAN Who Loves You* (Blaze/Vox) is unafraid of the everyday, pausing to notice and respond to the presence of others and things, passing on the strained lyricism of soap opera surrealism. I don't know if this work is really a manifestation of an emerging school, but I did go to school immediately on its quick fencer's wit and steady, yet verbally lucious focus on the realities, pleasures and perplexities of ongoing experience. I can't help it, like Amy, I've fallen in love with the real world of things and people. How can she have mastered this so early, when for most, youth is wasted on the Jung and other inflated idealisms. It's not only a pleasure, but an actual relief to see daily moments become remarkable again without becoming either flaccid or hysterical. Don't screech at me, don't preach at me and please pass the breadsticks:

"I had been invisible, untrained disappearing off the grid
for some time, until you asked me to pass the breadsticks
in that split moment of schizo-panic. To give up
a technicolor coat is a brave tragedy with many layers;
we're drawn to any labyrinth, perfection at the center
of artistry..." (*HOW TO GET THERE*)

But this poetry definitively is not about corny, not-so-new age glommy affirmations either. No interest in

"Accordion adventures they're the best instrument
to windbag, to bleat, to push air through daisies
for an alphabet's sake. Androgyny and honesty
ought to play frozen roses on apocalyptic landscapes,
the landscape of Amy King's face fused
with artifical intelligence on which hers lies
infinitely predictable.Blindfolded books could do worse
than the diction of bedtime verse"

So much for stretched out poetry gimmicks and ceaseless and shameless self-promotion. If we're going to be childish, at least lets attempt be a little like actual children. That's cool. So, what *are* you interested in, Amy?

"...but
lately I'm craving minimum cravings, dusty old records
that smell like a wood-paneled basement,
posters of Elvis on velvet, and the evolution
of ethnic foods on the Lower East Side.
We've gone from Indian to Choctaw.
Eccentric is out." (*MINIATURE DISASTERS*)

I get a whiff of Kim Lyons here, and a dash of Sharon Mesmer there, with a sprinkle of Nada Gordon : maybe that's where I got the Brooklyn School idea, though I'm not claiming literal influences,
there's Kim's: "Who doesn't hear Robert Johnson
at this place
near King's Highway" (*Saline*)
or
"plastic infinite waterfall
the matched "Danish* living room "set" (*Saline*)

or Nada's: "the
lamb chop in the dryer,
the snow shovel
in the rumpus room, thinking
if i had a round horse" (*GORGEOUS*a vestibule* from *V. IMP.*)

Well, anyway, the basement's where the imagination is sometimes forced to hide, especially in Brooklyn, my teen years Brooklyn of Bay Ridge,at my parent's house on BR Parkway, with its cement floor cnvered in outdated technology and turn-of-the-century French magazines.

Sure, I pledge allegiance to the books and the language of America as much as the next gal, but after all, the way hour follows hour and day follows day is not that much like a vocabulary exercise; it's more about trying not to get depressed, even trying to renew not just your library card. but this ceaselessly ironic daily life.

OK, not easy but not pathetic either, if there's hope in the rarely automatic quotidian promises of life:
at least that's what I'm getting from Amy King today.

"On top of my name, devotions, no woman
chain whips and lovers: coffee is how
I get other/ countries inside my body." (*ON THE OUNCE THAT SELLS US OUT*)

and:

"Marilyn as metaphor is
applepie modeled on
the grandmothers of invention" (*THE TEMPERATURE'S MOVIE LIFE*)

Am I not THAT old afterall?

Thanks, Amy.

"The Theory of the Active Reader"

There are a few books on my desk that I keep coming back to obsessively, that I can't keep my hands off of. Some are brand new, like *Ripple Effect* by Elaine Equi, (many of these poems were prevously published in her books from Coffee House) There are some timeless hits like *Lesbian Corn* "In summer/I strip away/your pale kimono" and some new lines sure to become classics like: "Autumn is a solitude/Winter is a fortitude/Spring is an altitude/ Summer is an attitude." This is a "New and Selected", but like some other new and selecteds, namely, Ann Lauterbach's stunning *If In Time* (Penguin) and Kathleen Fraser's beautiful *il cuore: the heart*, when you are affectionately familiar with the originals, it can be a joy to see how the poet regathers and reconnects the poems. For all these reasons and more I am eagerly looking forward to exploring what David Shapiro has done with this form (his selected is just out from Overlook), and getting absorbed in Charles North's recent new selected, his previous one long a favorite of mine, and I am particularly anticipating discovering how Tom Beckett shapes his current poetic and aesthetic viewpoint through such an arrangement of his earlier and recent work..

As soon as I start reading in Ammiel Alcalay's new (2007) book for Factory School's *Heretical Texts * series, *Scrapmetal" I immediately feel like again paging through its 2002 predecessor *from the warring factions* from Beyond Baroque. Similarly, Simon Pettet's 2005 book *More Winnowed Fragments", returns me to his 1995 Selected Poems from Talisman House.

My eyes delight in paging through the visual pleasures of Nico Vassilakis' new book from Otoliths *Diptychs*, and I am anticipating delving into recently publishedOtoliths books by bloggers Harry K. Stammer, Mark Young, Sandra Simonds,Vernon Frazer, Jordan Stempleman, and Jean Vengua.

Ron Silliman's *Woundwood*, a fine chapbook from Cuneiform, will no doubt disappear off the shelves of bookstores quickly; and I noted recently at the St Mark's Bookstore that his brilliant *Age of Huts* that includes the classic Chinese Notebook has been spiffed up and reissued.

This is the thing about poetry. When it's good, it doesn't get old, so as I mentioned yesterday, I was pleased to see Kasey Mohammad review a book from Lytle Shaw, Lobe, from a few years ago. Charles Alexander's *Certain Slants*("thank you for the book/to write in to lie down in') (Junction, 2007) sent me hunting through my shelves for his unforgettable *Arc of Light/Living Matter* (1992, Segue) ("calling them bloomies calling, jams to brace her bread warmed and butter recedes"), as well as his great 2004 Singing Horse Press book, *near or random acts* ("cash flies her away form/prose's comfortable kingdom"). No,my books are not in alphabetical order as Mitch Highfill noticed on a recent visit here with Kimberly Lyons. Mitch spoke eloquently about Alan Davies' poetry and why should I be surprised when Mr. Davies' new chapbook from Katalanche, *Book 5* ("slip into/ love like/genital/marginalia" should quickly lead me to search my shelf and reread in its entirety his famous This Book classic *Name*(1986):"Before we were happy/we were human." You want to listen to these edgy, delicate echoes resound in your mind over and over.

Taylor Brady wrote in his 2005 Factory School *yesterday's news"This is my theory /of the active reader, and it is dense." Indeed it is, and thus I oscillate between that and his 2006 book *Occupational Treatment* from Atelos. Well, it's now past 2 a.m. and I should get some sleep- after all, But now my fingers have come across my copy of *microclimates*(Krupskaya, 2002)-well I know I need to delve into that one further, which will no doubt take me back to the other two. I do have to work tomorrow. But how could a week be complete without reading awhile in Drew Gardner's 2005 Roof Book *Petroleum Hat* "Bad boys are full, tamed, safe/and charged with sexuality." Uh-huh! And Katie Degentesh's 2006 Combo Book *Anger Scale*"Since I just got a haircut today/everything is turning jiggy around me." Hard to get through a week or two without looking for an attitude refresher in their two books.And I want to stay up all night and write about Rodney Koeneke's *Musee Mechanique*, a 2006 book from Blaze/Vox: ("the delicious limbs of summer"),Gary Sullivan's *Elsewhere* #2 (2006) with text by Nada Gordon; "is your throat dry with the deviousness of following?"; Norman Fischer's powerful *I Was Blown Back* (Singing Horse 2005), Johanna Drucker's electrically syncopated typographical wonder *From Now* (Cuneiform, 2005), Heriberto Yepez's psychologically riveting soon to be a cult classic *Wars. Threesomes. Drafts.& Mothers (Heretical Texts, 2007), Catherine Daly's politically awakening yet subtly lyrical *Chanteuse/Cantatrice*, also from the Heretical Texts 2007 series (her book includes "collaborative" quotes from every Heretical Texts writer!). I want to be an insomniac blogger again, as I was in 2003 and keep reading and writing about Tim Peterson's award winning *Since I Moved In * (it won the first Gill Ott award) ("Why you writng a poem called The Age of Advertising/anyway?"). Ray DiPalma's *Mules At The Wake* ("what trace lingers in this edit"), Mode A's Grand Piano 1 & 2 "Door, garden, shadow, skirt. Are these ideal forms I envision in my mind's eye?" (Carla Harryman). And, as part of my recent desire to delve into German and Austrian history based on the moving, politically potent recent Weimar Show at the Met, I am enjoying Marjorie Perloff's engaging *The Vienna Paradox* (New Directions, 2004) ("This was, in any case, the book that I was reading in Innsbruck while our suitcases were being searched and our money taken away" as well as Wolf Lepenies' fascinating and provocative *The Seductiion of Culture in German History* ("But the illusionary overrating of culture thus played a particularly dangerous role in German history." And, as part of my ongoing feminist self-analysis, I have been enjoined by Charles Bernstein in his inscription to my copy to "be a" *Girly Man*("day retreats into quicksand/on the good nights.)" And, smiling impishly from behind a fan, who do we see holding a new Roof Book with an arresting cover designed by Gary Sullivan but Nada Gordon who will be celebrating her new book *Folly*, approprately enough on April Fool's day at James Sherry's loft on Sunday afternoon, April 1st. And she has hinted that she hopes all will come, say. imaginatively attired.

to be continued (including mentions and or reviews-trumpets and drums please- of the names Bob Perelman, Ron Silliman, and Rae Armantrout in recent editions of the New York Times Book Review and Art Forum. Ta-Da! A lot to celebrate, but now it's it's getting way late!)

Contradicta



When others do not want what you have to give, should this stop you from getting what you want to give?




*********************




When life is confusing for those who think for themselves, the confused are running the show.



>>>>>>>>>>>>>>>>>>>>>>

*The Grand Piano*: A Socratic Dialogue by
Nada Gordon (Ululations)



t<<<<<<<<<<<<<<<<<<<<<<

There's Still Hope Dep't: A Review of a Poetry Book 3 Years Old!

Kasey Silem Mohammad
Limetree reviews *The Lobe* by Lytle Shaw


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Jackson Mac Low Remembered


Someone requested anecdotes about Jackson on the Buffalo poetics list recently
and I've been posting some there. One of them was the second entry in my new
*fait accompli* book and blogger Amy King was inspired to write a post about my discussion
in that entry about "ambivalence. " Here:
Amy King's blog

Out of The Shadows

Yesterday Wood s Lot posted a link to a March 2004 *fait accompli* posting about the psychoanalyst Christopher Bollas' fascinating book *The Shadow of The Object: Psychoanalysis of the Unthought Known" as follows: Bollas. Although *fait accompli* has always focused on "time travel" as a central theme, no blog has shown a more consistent perseverence in finding the roots of the present in the past than *wood s lot*. In honor of that effort on the part of Mark Woods, we are posting here another few brief quotations from Bollas' invaluable book.

The aspect of Bollas' book we focused on back then was Bollas' concept of the normatic. Bollas pursues the theme further:
"The fundamental identifying feature of this individual is a disinclination to entertain the subjective element in life, whether it exists inside himself ot in the other. The introspective capacity has rarely been used. Such a person appears genuinely naive if asked to comment on issues that require either looking into oneself or the other in any depth. Instead, if the evolution towards becoming a normotic personality is successful, he lives contentedly among material objects and phenomena.

By the subjective element I mean the internal play of affects and ideas that generates and authorizes our private imaginations, creatively informs our work and gives continuing resource to interpersonal relations. The subjective ability amounts to a particular kind of internal space (Stewart, 1985) that facilitates the reception of unconscious affects, memories and perceptions.

The normotic person seems unable to experience evolving subjective states within himself. Without moods he may appear unusually steady or sound. If he is forced by circumstances into a complex situation in which the subjective element is called into play (such as being part of a family quarrel, or discussing a film, or hearing of tragic events) he betrays the absence of a subjective world. He may speak of a phenomenon as an object in its own right, laden with known laws, and thus undertandable. A quarrel might lead him to say 'you people are just being unreasonable', or *Hamlet* might inspire him to say 'an unhappy young fellah', or more often than not, he lapses into repectful silence." (p. 137)

"If psychotic illness is characterized by a break in reality orientation and a loss of contact with the real world, then normotic illness is typified by a radical break with subjectivity and by a profound absence of the subjective element in everyday life. As psychotic illness is marked by a turning inward into the world of fantasy and hallucination, normotic illness is distinctive as a turning outward into concrete objects and towards conventional behavior. The normotic flees from dream life, subjective states of mind, imaginative living and aggressive play with the other. Discharges of mental life is favoured over articulated elaborations that require symbolic processes and real communication. We could say that if the psychotic has
gone off at the deep end", the normotic has "gone off at the shallow end."

A normotic family may be successful for some time, depending on material comfort and the availability of personal wealth. As they need a supply of material objects to enrich their personal happiness, they are far more dependent than other sorts of people on the flux of economic life. For example, if one of the parents becomes unemployed, this amounts to more than a redundancy: it threatens the breakdown of a mentality. It does not lead to reflection or to affective states that deepen the family members' understanding of themselves and of their life. A father may become absent, either literally, by going off and staying away from home, or he may sit before the TV for long periods of time. We would say that there is a depression there, but from inside the family; it is the experience of 'leave your father alone' whose mental equivalent is 'leave that part of your mind concerned with your father alone'....

What is the nature of normotic communication? I do not think that it follows the laws of Bion's theory of beta functioning- specifically, objects are not manipulated via projective identification. Almost the opposite happens. It is as if language 'transformers' are used that launder a communication of all meaning, thus enabling the person to vaporize conflict and appear perfectly normal. This takes place by incorporating phrases that are in themselves meaningful, but that are used so repetitively that they eventually lose their originating subjectivity. I am referring to the use of familiar phrases by a person, indeed to the constriction of vocabulary, a foreclosure of language that would be observeable only over time in the knowing of any one individual. So, for example, a person who has a normotic personality disorder would be found to use a vocabulary of phrases that laundered the self of all meaning: phrases such as 'that's tragic' or 'uh huh' or 'yeah' or 'wow' that nullify meaning whilst appearing to recognize significance. Or a person might have more complex phrases such as "gosh, that's really amazing' or 'it's extraordinary what the world is coming to' which deflect meaning away from subjective exchange....

As has been suggested, the outcome of such a situation is a person who apears really quite extroverted and able. He seems to be without conflict, even in a troubled world. He manages distress through the use of 'language transformers' that alter significance into insignificance by virtue of the use of a vocabulary of phrases that function as evacuators of meaning."

(quoted from pages 146-155) *The Shadow of The Object* by Christopher Bollas, New York, Columbia Universtiy Press, 1987

Used copies from AbeBooks

Art by Peter Ciccariello


Poor Yoric in lyrical landscape

Tom Beckett interviews Australian poet Jill Jones
on e-x-c-h-a-n-g-e-v-a-l-u-e-s
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

BOOK PARTY

Ripple Effect:
New & Selected Poems
by Elaine Equi

Friday, March 30th
6:30 PM

CUE Art Foundation
511 W. 25th St.

Theremin music by
Andy Karlock

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2 reviews, one brand new (Today), one old (2000) on the poetry of Rae Armantrout
by Stephen Burt


NY Times

Boston Review

Contradicta




Truth might visit the solitary but will rarely find liars alone.




******************************




Life is the desert, truth the oasis.

Contradicta




Courage is the stone, disappointment the river.




**********************



Something will happen - meanwhile, just live.

You Can't Hurry Love

"You can�t hurry love
No, you just have to wait
She said love don�t come easy
It�s a game of give and take"

Tom Beckett (Soluble Census) asks a good question.

>>>>>>>>>>>>>>>>>>

Gary Sullivan Tunes The Grand Piano, Part 1

Elsewhere

<<<<<<<<<<<<<<<<<
Timothy Yu readings in New York and Chicago

April 7, 2007
730 PM @ Lolita Bar
no cover
266 Broome St., NYC
(corner of Broome & Allen)

Emmy Catedral | Kevin Coval | Thom Donovan |
Wanda Phipps | Sukhdev Sandhu | Timothy Yu |

Sunday, April 8, 5 pm
Verlaine
110 Rivington St., NYC
(Ludlow & Essex Sts.)
212-614-2494
F train to Delancey or V train to 2nd Ave
$5 donation


Sunday, April 22, 7 pm

Myopic Books
1564 N. Milwaukee Ave., Chicago

http://www.myopicbookstore.com/poetry.html

Contadicta



Our glimpse of life is from a train going fast: where we can barely distinguish the present from the past.




********************



Love is watered by truth at its roots but its arms reach up towards light and kndness.
**************************************

MoMA presents M o d e r n P o e t s
Revitalizing Frank O’Hara’s legacy and MoMA’s historical commitment
to poetry, this new series invites poets to bring the literary tradition to
the Museum’s collection. Three times a year, poets read historical works
and their own work that reflects on modern and contemporary art.
Writing in Time: Poets and Technology
Wednesday, March 28, 6:00 p.m.
The Celeste Bartos Theater
4 West 54 Street, between Fifth and Sixth avenues
Greta Byrum Robert Fitterman
Kenneth Goldsmith Caroline Bergvall
The exhibition Out of Time: A Contemporary View considers notions
of temporality and reconstructions of time through memory, fantasy,
dreams, and history in a variety of media. The increasing prevalence
of technology, whether as an artist’s medium or as visual stimulation
in mass culture, changes the way we experience, record, and perceive
time. On the occasion of this exhibition, MoMA asked poets to explore
how technology informs the language and rhythms of poetry. Greta
Byrum, poet and sound artist; Robert Fitterman, poet; Kenneth
Goldsmith, poet, Professor, Creative Writing Program, The University
of Pennsylvania, and founding editor of ubuweb.com; and Caroline
Bergvall, poet, and Co-Chair, Writing MFA, Milton Avery School
for the Arts, Bard College, read works of their own and of others.
This program is a collaboration between The Museum of Modern Art
and ubuweb.com.
Tickets ($5; members, students, seniors, and staff of other museums
$3) can be purchased at the lobby information desk, the Film desk,
the Cullman Building lobby, or online at www.ticketweb.com.
The Museum of Modern Art

Vispo Guide

from Brian Carpenter Nico Vassilakis

Nico's latest book is: *Diptychs* from Otoliths.

Is Your Jacket Half Empty of Half Full?

-check out Elaine Equi's *Greeting Card Poems* in the advance copy of #32

plus Douglas Messerli, Gilbert Adair, Andrea Brady, Michael Gottlieb, James Sherry, Michael Kelleher
and many, many others now and still to come in April

Jacket 32
****************

Tom Beckett on Alan Davies' new chapbook *Book 5* Soluble Census

This Just In! 4 books on SPD's February Bestseller List From Factory School's Heretical Texts

Check out #'s 7, 9, 14, and 29

SPD Poetry Bestsellers

February 2007:

1. Eunoia Christian Bok (Coach House Press)

2. Wisteria: Twilight Poems From the Swamp Country Kwame Dawes (Black Goat)

3. Necessary Stranger Graham Foust (Flood Editions)

4. Chromatic H.L. Hix (Etruscan Press)

5. Glean Joshua Kryah (Nightboat Books)

6. Loveliest Grotesque Sandra Lim (Kore Press)

7. Scrapmetal Ammiel Alcalay (Factory School)

8. Howl & Other Poems Allen Ginsberg (City Lights)

9. Wars. Threesomes. Drafts. & Mothers Heriberto Yepez (Factory School)

10. Friday and the Year that Followed Juan J. Morales (Fairweather Books/Bedbug Press)

11. The Book of Questions Pablo Neruda (Copper Canyon Press)

12. What if Your Mother Judith Arcana (Chicory Blue Press)

13. Apostrophe Elizabeth Robinson (Apogee Press)

14. Fait Accompli Nick Piombino (Factory School)

15. Untangled Keren Taylor, Ed. (WriteGirl)

16. Blackboards Tomaz Salamun (Saturnalia Books)

17. Cadenza Charles North (Hanging Loose Press)

18. Fugue State Bill Berkson (Zoland)

19. Prime Time Apparitions R. Zamora Linmark (Hanging Loose Press)

20. Vacationland Ander Monson (Tupelo)

21. Woundwood Ron Silliman (Cuneiform Press)

22. Concordance Mei-mei Berssenbrugge/Kiki Smith, art (Kelsey Street Press)

23. Retreats & Recognitions Grace Bauer (Lost Horse Press)

24. Sadder than Water: Selected Poems Samih al-Qasim
(IBIS Editions)

25. Seismosis John Keene & Christopher Stackhouse (1913 Press)

26. Also, With My Throat, I Shall Swallow Ten Thousand Swords: Araki Yasusada's Letters in English Tosa Motokiyu (Combo Books)

27. Analects on a Chinese Screen Glenn Mott (Chax Press)

28. Bone Pagoda Susan Tichy (Ahsahta Press)

29. Chanteuse/Cantarice Catherine Daly (Factory School)

30. Deathstar/Ricochet Judith Goldman (O Books)

*****************************************************
Boog City 39

Available Sunday P.M.

featuring:

***Music section, edited by Jon Berger***

*** Printed Matter section, edited by Mark Lamoureux***

*** Film section, guest edited by Jon Berger***

*** Politics section, edited by Christina Strong***

***Art editor Brenda Iijima brings us work from Belford New Jersey's Kate
Greenstreet***

*** Poetry section, edited by Laura Elrick and Rodrigo Toscano***

*And photos from David S. Rubio and Christina Strong.*

-----
Please patronize our advertisers:

Bowery Poetry Club * http://www.bowerypoetry.com
::fait accompli:: * http://www.nickpiombino.blogspot.com/
The Million Poems Show * http://www.jordandavis.com/Talkshow.html

-----

Advertising or donation inquiries can be directed to
editor@boogcity.com or by calling 212-842-BOOG (2664)

-----

2,250 copies of Boog City are distributed among, and available for free at,
the following locations:

MANHATTAN

*THE EAST VILLAGE*

Acme Underground
Alt.coffee
Angelika Film Center and Café
Anthology Film Archives
Bluestockings
Bowery Poetry Club
Café Pick Me Up
CB's 313 Gallery
CBGB's
Lakeside Lounge
Life Café
Mission Café
Nuyorican Poets Café
Pianos
The Pink Pony
St. Mark's Books
St. Mark's Church
Shakespeare & Co.
Sidewalk Café
Sunshine Theater
Tonic
Trash and Vaudeville

*OTHER PARTS OF MANHATTAN*

Hotel Chelsea
Poets House


BROOKLYN

*WILLIAMSBURG*

Bliss Café
Earwax
Galapagos
Northsix
Sideshow Gallery
Soundfix/Fix Cafe
Supercore Café

*GREENPOINT*
(available later next week)

Greenpoint Coffee House
Lulu's
Photoplay
Thai Cafe
The Pencil Factory

--
David A. Kirschenbaum, editor and publisher
Boog City
330 W.28th St., Suite 6H
NY, NY 10001-4754
For event and publication information:
http://boogcityevents.blogspot.com/
T: (212) 842-BOOG (2664)
F: (212) 842-2429

from "The Apprentice" by Lewis Libby
Thomas Dunne Books, 2001

"In his flight he looked at his telltale trail through the snow with alarm. He struggled to form a plan.
Surely if someone has followed me, he thought, surely they'll stop to search the shrine. He knew that would take some time. He could count on some delay.
But in the very next instant he realized that the man with the glasses had claimed to see more than one man in the grove. If they divided, some of them might even then be gaining on him.
The youth saw now that he had been on a fool's errand, and this tired him further. He knew he had stayed too long in the shrine. Thinking back, he realized that the hole he dug searching for the packet would tell a plain tale. Having once uncovered the box, he could not now so readily rid himself of it....
He resolved that if he were caught by the men who had hidden near the shrine he would tell them readily about the box. He could say he was headed now for someone to tell, that he was glad he had stumbled upon them. But he had no faith in his ability to carry off this tale, and no faith in the good will of these men. Better, he knew, not to be caught."

Three Important Things

"Three things in human life are important: the first is to be kind; the second is to be kind; and the third is to be kind.”
Henry James

No one knows this better than:

Tom Beckett (Soluble Census)
And blogging has never been warmer than this moment, since 2003. Tom's comments lead me to Imagine a world in which writers could say nice things to each other without tons of sarcastic icing.


*******************
Libby Found Guilty

CBS news.Thank you Mr.Fitzgerald!
Times coverage of Libby Verdict

One of the finest moments in judicial history since:
This

Thanks to

Jilly Dybka Poetry Hut
and Sandra Torres Gota a Gota (Drop by Drop) for their (recent)
links.

(The *fait accompli* link list will appear on this blog soon).

*********

Elwood P. Dowd (played by James Stewart) in *Harvey*: "Mother always said, in this life you must be either very smart or very pleasant. I tried smart for awhile, but then I switched to pleasant and I never regretted it."

"Hope is definitely not the same thing as optimism. It is not the conviction that something will turn out well, but the certainty that something makes sense, regardless of how it turns out."
Vaclav Havel

*************

from *Killing Floor* by Ray DiPalma


"FURTHER APOCRYPHA"

"Cries and processions put a public face on things;
this designation is corroborated only by silence

So I’ve been checking around for hints of evidence,
copied formulas, neutral grids blank and ancient,
organizing a memory to document,
as it passes into the listening,
—a surge of impressions
indifferent to fame and death—
that describe an answer but offer none

one dit issue seven Ray DiPalma

*******************

Shampoo 29 is here

******************
Between a Rock and a Hard Look

Went to a podiatrist once who told me things about orthotics- protective shoe inserts for your feet- I never knew. "Where've I been?" I said innocently. "Under a rock" he said, in a surprisingly nasty tone of voice. Well, maybe that's how you get from looking at people's feet all day. Actually he made a damn good pair of orthotics I stil use sometimes.

I, for one, until yesterday never got out from under my rock to take a good look at Big Bridge, or if I did, didn't bother to fully check it out. Here is the latest edition and all the earlier archives. The mag is well worth it, even if only for the many terrific author photos. Check out all the earlier editions at

Big Bridge archives

The current issue is here Big Bridge #12

By the way, I found out just how good Big Bridge is by discovering this terrific piece by Anne Waldman-
War Crime-
in
wood s lot (which is how I uisually try to
get out from under my rock, almost every day, and take a good hard look into the present and the past.)

Friends Indeed- Book Party Photos and Comments

Our belated (been out with a sore throat and a cold this week) yet enthusiastic thanks to


Nada Gordon (ululations)

and

Gary Sullivan (Elsewhere)

for their posts on our Unnameable (Adam's) Books book party on Tuesday, February 27.

and thanks to Adam Tobin for the terrific party celebrating *fait accompli* from Factory School
**
this just in from Adam Tobin

Dear dear friends of Unnameable Books,

You may have noticed some recent news coverage of this store, under a different name. If so, then you've probably been reading the New York Sun, or the Christian Science Monitor, or the Brooklyn Record or New York Magazine's gossip blog, or perhaps some other blogs where there have been high levels of chatter. Remain alert. Be aware of your surroundings at all times. Keen google use will reveal the following:

***
The Sun
The Record
The Monitor
The Intelligencer
The Compton
The King
The Elsewhere
The Tube
The Macondo

In other news: Spring is here (again), and the birds will sing. Soon, soon.


NEXT FRIDAY NIGHT, for example, THE CANARY himself, that caged wonder, containing new poems by Ashbery, Myles, Toufic, Lee etc., will send a representative: Mr. JOSHUA EDWARDS, Ed. He will be reading his own work.

Simultaneously: Mr. FRED SCHMALZ, editor of THE SWERVE, whose new issue arrives anon, will display his own clinamen in the back of the store.

And on the very same night: MATTHEW ROHRER, poet, will read from his new book RISE UP, newly out from Wave Books.

All this is just to say that:

FRIDAY MARCH 16th, at 8 PM,
A reading, a party, a reading party,
here at Unnameable Books. Featuring:
Joshua Edwards of THE CANARY
Fred Schmalz of THE SWERVE
and Matthew Rohrer of RISE UP.
456 Bergen St. (btw. Flatbush & 5th Ave.)

Joshua Edwards co-edits The Canary with Nick Twemlow and Anthony Robinson. His poems appear/are forthcoming in Vanitas, Practice, Court Green, Slate, Skanky Possum, 26, Colorado Review, and elsewhere. He lives in Ann Arbor, Michigan.

Fred Schmalz is a poet and publisher of the literature and art journal swerve. His poems have appeared in The Bedazzler, jubilat, Conduit, Divide, Forklift Ohio, H_NGM_N and other magazines. Schmalz's chapbook Ticket was published by Fuori Editions in 2002. He lives in Brooklyn.

Matthew Rohrer is the author of A Green Light (Verse Press, 2004), which was shortlisted for the 2005 Griffin Poetry Prize. He is also the author of Satellite (Verse Press, 2001), and Nice Hat. Thanks. (with Joshua Beckman) (Verse Press, 2002) and the audio CD Adventures While Preaching the Gospel of Beauty (also with Joshua Beckman, 2003). He has appeared on NPR's "All
Things Considered" and "The Next Big Thing." His first book, A Hummock in the Malookas was selected for the National Poetry Series by Mary Oliver in 1994. He, too, lives in Brooklyn.


***
Unnameable Books
[formerly "Adam's"]
456 Bergen St.
Brooklyn, NY 11217
unnameablebooks@earthlink.net
(718) 789-1534
www.unnameablebooks.net

***

Amazon, schmamazon -- order your books from the Unnameable!
We'll give you 20% off, and can ship directly to you or your giftee.
We can order any book in print, and ship anywhere in the U.S.
Just send us an email with the word "Order" in the subject line...
***

Contradicta



Anyone can easily appear supremely sophisticated and all-knowing by understating or witholding their reactions. LIke death, another masterful leveler, silence obliterates all distinction by remaining cool and unimpressed.


***************************


Irony, the shield and sword of literary politics, ends its days living alone on one side of the moon, while its polar opposite, sentimentality, assumes its solo residence on the other.

Book Party Today

Please come celebrate the publication of *fait accompli* (with an afterword by Gary Sullivan) from Factory School's Heretical Texts
Heretical Texts' *fait accompli*

TUESDAY, February 27
at 8pm.
at UNNAMEABLE BOOKS
456 Bergen Street
Brooklyn NY 11217
(off Flatbush Avenue)
(718) 789 1534


Easy* to get to. Take the 2 or 3 train to Bergen street stop (not to be confused with the other Bergen stop on the F line). Unnameable Books is just 1/2 block from the subway. Pinchik paint is on the corner.* Bergen is one stop past the Atlantic AND Pacific St transfer point with the D,M,N,R and B,Q,2,3,4,5 lines

Mark Young announces new books from
Otoliths

I am pleased to announce the first of what will be a quarterly round of new books from Otoliths ; & I'm extremely pleased that the four books in this initial launch are wonderful offerings by four exceptional poets.



Rather than drool with unadulterated joy any further, I'll just point you to the Otoliths shopfront — Lulu Shopfront — where you can also find other books & chapbooks plus print versions of the magazine, & would suggest to U.S. residents that, rather than use couriers, they select the USPS Media Mail default as the means of delivery since it's economical &, from our experience, efficient.



The individual webpages for each of the books is given below.



Nico Vassilakis: DIPTYCHS

60 pages, full colour

$15.00

webpage:
Lulu ordering page





"The individual pieces in this book are tiny visual poems that examine the materiality of visible language and find beauty by looking at that language from unexpected vantage points. Nico has created each of these poems through a sequence of steps that included capturing video of text, editing and modifying that video (which included changing the color), capturing screenshots of the video, and cutting and putting these final pieces together in little diptychs consisting of one rectangle of prepared text atop another. To some degree, the results are the children of Nico's important videopoetic work, Concrete: Movies, released in 2005."

—from the introduction by Geof Huth





Jordan Stempleman: What's the Matter

112 pages

$10.00

webpage: Lulu ordering page





"Maximizing the tension of line breaks, making the most of each word's nuances, Jordan Stempleman creates a stunning landscape of precision and delicacy. There are gorgeous moments here, and they always "begin with the actual condition"—this book constitutes a commitment to the beauty of the world, and a new instance of it."

— Cole Swensen



"In this impressive, replete collection, Jordan Stempleman takes us repeatedly to this place of contemplation, where only a few rare words are necessary. We are invited to a course of thinking that locates intensity without demanding it—for therein lies the fabled difference between an exploratory and settled poetics, to open out and out again upon present history. This is, quite simply, a wonderful book."

— Paul Hoover





harry k stammer: tents

60 pages, including colour

$15.00

webpage: Lulu ordering page



"Make no mistake about it: harry k. stammer is one of the boldest pioneers in contemporary experimental poetry—and one of the most successful. His new work tents is edgy but accessible; challenging but rewarding. stammer mixes a sort of poetic cubism with wordplay, startling typography, and a wide array of other adventurous techniques with creative intensity rarely witnessed. In this singular text, the reader is confronted by a dizzying maelstrom of meaning and image. Kaleidoscopic and impressionistic, this interpretation of our postindustrial, postmodern society is a must for any serious reader of today's poetry."

–Philip Primeau , PERSISTENCIA* PRESS





Vernon Frazer: BODIED TONE

132 pages

$10.00

webpage: Lulu ordering page





" BODIED TONE is terrific—the rhythmic vitality is just that, full of life, but it is seductive too; one gets caught up in the percussive musicality of the phrasing . It's a driving musicality—more bebop than balladry, for sure." — Lyn Hejinian



So why not splurge a little & be swept up by pleasure.



Cheers

Mark Young

Editor, Otoliths

Guilermo Parra has posted a

review of Heriberto Yepez's new Heretical Texts book on his blog

Venepoetics

Thanks Across the East River and Across the Atlantic

to
Anny Ballardini and Thom Donovan for their generous responses to *fait accompli* from Heretical Texts; Anny presents some random selections, and an invitation to our upcoming book party at Unnameable Books in Brooklyn and Thom Donovan presents a dedicated poem and a collage from *Free Fall* "Chris Dangerous." Much appreciated, guys!

*****

Laura Moriarty reviews Heriberto Yepez's *Wars. Threesomes. Drafts. & Mothers* from Heretical Texts in
A Tonalist Notes
via Orbit Now (Troy Worman)
Heriberto Yepez also posted it on his blog Hecho en Hache

Contradicta




Measure your generosity by your response to selfishness.




***********************



Perplexity arouses; satisfaction stuns.

Contradicta




Great success and great compassion are not that compatible: this is why compassionate people find their own failures and that of others worth thinking about.




*****************************



For contemplatives motivation is like the tides- when they go out, time for a sunbath.

Another fait accompli

Bill Marsh, editor of the Heretical Texts series- that now includes the book version of *fait accompli*- reviewed this blog in June of 2003. We tried to convince Bill to use this review as a preface to the book, but since Gary Sullivan had already kindly supplied an afterword it was clear this was far too much packaging for an Heretical Texts book. Below is a link to Bill Marsh's review on his blog San Diego Poetry Guild.

Bill and his wife Octavia Davis and their two children have now moved to Jackson Heights, Queens, although they then resided in Southern California. Bill, and soon Octavia, teach at St John's. He is working on a book about plagiarism. The Factory School design team that includes Joel Kuszai and Octavia Davis did a presentation at the Poetry Project last Monday.


Field Report #1 by Bill Marsh

**

Thanks to Ernesto Priego (Never Neutral) for the generous response to *fait accompli*

Holland Cotter featured Mimi Gross' painting
-which we saw and greatly admired at the Ceres opening
last night- (Ceres Gallery:547 West 27th Street)
in the Friday, February 16 NY Times Art section

Agents of Change: Women, Art and Intellect
that included a link to the

The Meaning Forum
which features a painting by Toni Simon!

**
Contradicta recently Translated Into Icelandic!

Thanks to

Tiubusund tregawott for the link.

PS Shanna Compton featured on the same site.

***************

SPD has sold out the first shipment of *fait accompli* from Heretical Texts.
Until some have been shipped you can order from this page:

Factory School

This Side of Paradise

"Q- Do you want a lot of money?
A- No. I am merely afraid of being poor.
Q- Very afraid?
A- Just passively afraid.
Q- Where are you drifting?
A- Don't ask *me*!
Q- Don't you care?
A- Rather. I don't want to commit moral suicide.
Q- Have you no interests left?
A- None, I have no more virtue to lose. Just as a cooling pot gives off no more heat, so all through youth and adolescence we give off calories of virtue. That's what's called ingenuousness.
Q- An interesting idea.
A- That's why a good man going wrong attracts people.They stand around literally *warm themselves* at the calories of virtue he gives off. Sarah makes an unsophisticated remark and the faces simper in delight-'How *innocent* the poor child is!' They're warming themselves at her virtue. But Sarah sees the simper and never makes the remark again. Only she feels a little colder after that."

-F.Scott Fitzgerald

*This Side of Paradise* was Fitzgerald's first book, begun when he was still a Princeton undergraduate and published when he was 23.

Today is fait accompli's 4th birthday.

Come celebrate the publication of *fait accompli* the book-
from Factory School's Heretical Texts
at Unnameable Books
456 Bergen Street
(off Flatbush Avenue)
Tuesday, February 27
at 8pm.
The book begins with our first post
on this date in 2003.

**

^Gary Sullivan, The Great Enabler*

Stan Apps posted a personal and passionate essay about Gary Sullivan's poetics-
"Gary’s poetics consists of decisively rejecting mysterious theatricality, and thereby creating an aesthetic of material accountability. The words in Flarf poems are materials that have been put there precisely so that a mysterious theatrical tone of all-knowingness from the beyond cannot develop. Instead, evidence of human foolishness and goofiness is there instead. The tone of Flarf poems is not really (or not only) a tone of willed outrageousness or silliness, as it may seem to be; the tone is a rejection of mysteriousness, and therefore an acceptance of words and phrases that can be accounted for as merely human..."

read the entire post right now on

refried ORACLE phone

**


Digitalized Thought from Peter Ciccariello [via the
Buffalo Poetics List]

Eoagh 3


Eoagh Issue 3: Queering Language

Lou-Andreas Salome meets Kenny Goldsmith
(an article in the Valve by Ray Davis) (Nov, 2005)


Salome What She Watched


**
updated factory schooll link to ::fait accompli:: the book:

fait accompli from Heretical Texts

Contradicta



It is a fine thing to take pleasure in it but, as with so many other things, we can think too little or too much. Too little produces a mental mannikin, too much a chattering puppet.


****************


We never know what we are thinking until we think about it.

Thanks to

incli(NATION)
for the link to our Walter Benjamin and Blogging post from Dec 12, 2003, and to Mark Woods and Theresa Duncan for their recent links.

Subject: Book Party for ::fait accompli:: from Heretical Texts
Place: Adam's Books/ aka Unnameable Books
456 Bergen Street, off Flatbush Avenue, Brooklyn
tel: (718) 789-1534
Date:Tuesday, February 27
Time: 8 PM

Please come!
::fait accompli::
from Heretical Texts


**
Thanks to

The Wit of The Staircase for the link to ::fait accompli:: on Walter Benjamin and Blogging (2003). Nice bit of time travel! (via wood s lot])


[Benjamin on Blogging was posted to
fait accompli Dec 12, 2003]

Thanks to

Nico Vassilakis, Tom Murphy [click here]
and wood s lot [click here]
for the kind words about ::fait acccompli:: from Heretical Texts!

**


SPD *fait accompli* listing

Tom Beckett {Soluble Census) [click here] has some kind words to say about *fait accompli* from Heretical Texts.

Thanks, Tom!

Contradicta








Much of our experience of others and their experience remains foreign to us. We must internally translate or we are doomed to misunderstand or be misunderstood.




*********************



Listening better is frequently the best answer one can give.

*fait accompli* has a new look, due to changes at blogger.

Work to be done.


Keep tuned. New Contradicta will hopefully be
posted soon.

**
Thanks to
Glee Farm (Todd Colby) [click here] for the recent link.

*fait accompli* is available now from Factory School
or SPD


*fait accompli* from Heretical Texts [click here]


Heretical Texts Volumes 1-3 [click here]