Anger at the Scale

Just as Katie Degentesh, pointedly critiques psychological tests in her book The Anger Scale, Kugelmass takes aim at the idea, and specifically, the culture of intelligence, in an essay Ray Davis notably mentions and links to it in his latest post, discussed below, possibly making an indirect critique of the notion of the award I had just presented him with! Enjoy, you geniuses: Kugelmass: There is No Such Thing As Intelligence.

I am not very much in agreement with Kugelmass' thesis. There may be no such thing as intelligence, per se, but there is such a thing as intelligent resourcefulness and this can be taught. Lets not drown the baby in the bathos, Mr. Kugelmass!! Also, check out K's arch reference to Harold Bloom's amazing book, *The Anxiety of Influence*. He seems to feel the A of I was written because Bloom could not create literature on his own (has he wanted to?), in the spirit of those who can do, and those who cannot, teach. Anyway, this is a fine and provocative essay, and our thanks to Ray Davis for pointing us to it.

Ray Davis

Whose blog pseudopodium recently celebrated its eighth birthday, and was our first choice for a Thinking Blogger award, has invited us to peruse his loglist in search of blogs worth thinking about. This is a fine recommendation for a veteran blogger to make, as in my own case, there has been a declining propensity to wade into the ever increasing ocean of new blogs. Happily, Ray takes the moment to talk a bit about himself, and in so doing, mentions Miranda Gaw, and Mark Woods. I see in my crystal ball another Thinking Blogger award coming into view. And who would deserve it more?

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Nobly Disheveled

ursprache

Kyle Schlesinger

has posted an interview he did with us at SUNY-Buffalo in 2000, published by Cuneiform in a chapbook edition of 100. It has not been otherwise published.

"What appeals to me about disrupting nar-
rative structure is the transgression of auto-
maticity. The “automatic” and the machine
gun are apt contemporary images for the
internally terrifying sensation of violence
exactly because 'reaction time' has been
effectively eliminated. No time for pity or
sympathy. Just plug’em. Simply stated: nar-
rative structure = violence. Or, as I put it in
The Boundary of Blur: The cutting edge of
narrative often turns to blood and is fasci-
nated by monsters."

Ray Davis Receives The Thinking Blogger Award

I've been thinking about the Thinking Blogger award. Having received this distinction the other day from Michael Lally, I've decided to pass it on to Ray Davis for his pseudopodium which recently reached its eighth birthday.


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from a Letter from Debussy to Robert Godet, 18 December 1911

"Talking of organization, I haven't managed so far to find what I want for my two Poe stories...They smell of the lamp and you can see the 'seams.' The longer I go on, the more I detest the sort of intentional disorder whose aim is merely to deceive the ear. The same goes for bizarre, intriguing harmonies which are no more than parlour-games...How much has first to be discovered, then supressed, before one can reach the naked flesh of emotion...pure instinct ought to warn us, anyway, that textures and colours are no more than illusory disguises."

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The Best of 8 Random Facts

Tom Beckett's Soluble Census
(It is rumored that Tom Beckett will soon receive a Thinking Blogger Award).

Ron Silliman announces The Age of Huts has been nominated for a Pulitzer Prize

Speaking of classics, at his Zinc Bar reading, on Sunday, June 17 (Father's Day), Ron Silliman made the amazing announcement that his UC Berkeley Book, *The Age of Huts* has been nominated for a Pulitzer Prize! Hear it for yourself (Ron reads second, after Jessica Smith). It is unclear at the moment whether this means that *Huts* is now a finalist-or was submitted by UC Berkeley for consideration as a nominated finalist- but either way, this is breaking poetry news!

Ron Silliman and Jessica Smith reading at the Zinc Bar

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New listings on our homepage at the Electronic Poetry Center
New
our EPC homepage("New" is under Online Works)

Classic

It is, of course, hard to predict what poems from our era will be seen in the future as classics. Yet it was no surprise to me that when I posted James Sherry's haunting poem "She'll Be Comin' Round" awhile back there were many appreciative comments and links posted on blogs. Here is James Sherry reading what I predict will be one of the poems that will be remembered in most future anthologies of today's poetry:

James Sherry reading "She'll Be Comin Round" via Penn Sound

We've Been Nominated!

by Michael Lally on his Lally's Alley blog for the Thinking Blogger Award, which we deeply appreciate. Check out Michael's other nominees. His blog, quickly becoming an online favorite, was nominated and he was asked to nominate five bloggers himself. Poet Michael Lally is also a successful film and tv actor.

Vengua's Velvet Voyage

Jean Vengua's excellent new book of poetry will include our blurb on its cover. Check it out on her blog

Okir

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Two Art Shows in Provincetown we visited last night were

Moby Dick, the chapters, Timothy Woodman, which continues at the Albert Merola Gallery, 124 Commercial Street, until July 19. Philip Hoare's new book about Melville *Leviathan* will be published in 2008. Timothy Woodman created the cover which is composed of coloful painted panels, each with a symbol for a chapter from the book.

Our friend Elizabeth Fodaski was there with her children and her husband, the artist Richard Baker. Liz told us she recently completed her MFA, studying with Elaine Equi and David Lehman. Liz is the author of fracas.

and

the Provincetown Art Associationwhich now features an ambitious full retrospective of work by the late artist Jim Hansen.

We were invited to these shows by Mira Schor, who, with Susan Bee, edited M/E/A/N/I/N/G which is now available online at M/E/A/N/I/N/G

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Close Listening

edited by Charles Bernstein was published in 1988. Google has placed the entire book online. One of the essays, mostly about found poetry, is our The Aural Ellipsis and the Nature of Listening in Contemporary Poetry. You can read it here:
Close Listening

The Music of Mallarme

""His aim....is to use words in such a harmonious combination as will suggest to the reader a mood or a condition *which is not mentioned in the text,* but is nevertheless paramount in the poet's mind at the moment of composition." That sums it up. I create music and give that name not to the music one can extract by the euphonious juxtaposition of words, this primary condition is self-evident; but the beyond, which is magically produced by certain dispositions of the word; where the word, moreover, is merely a means of material communication with the reader, like the notes of the piano. Truly, between the lines and above the glance, that communication is achieved in all purity, without the intervention of the catgut strings and the pistons of an orchestra, which is already industrial. Yet it's the same thing as an orchestra, but as literature, meaning silently. Poets throughout the ages have never done anything else, the only thing is that today it's amusing to be aware of it. Use Music in the Greek sense, meaning, basically, Idea or the rhythm between connections; in that case it's more divine than in the public or symphonic expression. This is very poorly expressed, in chatting, but you seize my meaning, or rather you have seized it throughout that fine study which you must keep as it is, intact. The only quibble I have to make is on obscurity; no, my dear poet, except through awkwardness or clumsiness, I'm not obscure, from the moment the reader seeks in my poetry what I ennumerate above, or the manifestation of an art which uses- let us say incidentally, I know the profound reason for this- language; and of course I become obscure if the reader makes the mistake of thinking he's opening a newspaper!"

From the Letters of Mallarme
February, 1893

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

Important message forwarded by Ray DiPalma

Federal Trade Commission Do Not Call Registry
 
        REMINDER.... 12 days from today, all cell phone numbers are being released to telemarketing companies and you will start to receive sales calls. .. YOU WILL BE CHARGED FOR THESE CALLS. They will count towards you monthly minutes.
 
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        You must call from the cell phone number you want to have blocked.  You cannot call from a different phone number.
  
        HELP OTHERS BY PASSING THIS ON TO ALL YOUR FRIENDS.  It takes about 20 seconds.

Someone visited fait accompli and translated it into

Chinese

The Contrapuntal Conversation

The character of literature is essentially choral. If a voice is lacking, we hear that silence as part of a specific literary texture. New points of view are consistently arriving on the scene, just as familiar characters are making their exit. Our practiced, sensitive listening carefully tracks this contrapuntal conversation, and cannot fail to detect any lacuna. As voices rise and fall, every silence and dissonance makes its statement and is, at least subliminally, eventually recognized and identified.

In honor of Gary Sullivan's Murphy's Laws of Poetry
on Elsewhere

we present the
Seven Ages of Poetry

20-Fanatic
30-Ecstatic
40-Emphatic
50-Erratic
60-Sporadic
70-Bureaucratic
80-ick

Thanks to Mark Young, publisher of Otoliths Books,
who had this to say about our new book *Free Fall* on

Gamma Ways

Breaking News: Rachel Maddow Live and In Person

When Toni and I, on vacation, were walking into town yesterday, Toni decided to pet a puppy walking by. The owner warned Toni that the little thing liked to bite, and in fact the puppy tried to go for Toni's pearl necklace. As we were leaving Toni noticed that this person looked a lot like Rachel Maddow. She, in fact, was Rachel Maddow, and we got to tell her we are major fans, watching and listening to her with great pleasure and admiration on tv on the Keith Olbermann show , the Tucker Carlson show and recently with Paula Zahn. Rachel, of course has a nightly show on Air America: Rachel Maddow on wikipedia She is just as friendly, warm and easy to talk to as she seems to be on radio and tv. She was with her girlfriend Susan and seemed a bit skeptical that she could, as Toni and I hoped she might. soon have a network tv show of her own. She did claim we made her day and she certainly made ours.

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a kari edwards memorial was held at the Zinc bar on 6/25/07

Check out Tim Peterson's excellent piece on kari edwards on: mappemunde

Contradicta



Feelings are not the threat, or shouldn't be. To the extent that at times I feel gratitude and affection, I should expect to feel outrage and antipathy at other times. Indifference is the true threat, the outcome of deadening.



**


Someone responds, I respond. If you ignore me, how can I fail, eventually, to ignore you? Nevertheless, each of us is aware the other is out there, somewhere.

Kate meets Katie: Degentesh on *Every Other Day*

The ongoing first book interview series features The Anger Scale

On My Desk

*the tiny*, issue 3, edited by Gina Myers and Gabriella Torres. Contact thetiny@gmail.com
[Additional info on ordering *the tiny* from paypal at the end of today's post-plus list of contributors, upcoming reading &&
the tiny]


The third issue of this popular and admired poetry journal features a cover by Andrew Mister (issues 1 and 2 featured covers by James Meetz and David Shapiro). This one isn't tiny, in fact it is the largest issue yet, 159 pages with about 50 contributors. Interspersed among the poems by poets who are decidedly not the "usual suspects", at least in the lineups I am used to looking at, are a few quite witty and lively essays and interviews about writing and the poetry scene, made all the more appealing by coming from voices not so often heard before. Given all this, *fait acccompli* is extremely honored to announce that a selection of our *contradicta* is here handsomely included in a poetry magazine for the first time.

from *P(r)etty Sonnets* by Anthony Hawley:

"XVL

they came swaggering, not knowing just how fast
i wish I could write what was said
caterpillar, junebug towards the graveled surface
of every article in the closet
are there any coats like a dalmatian's
bandonian in the desert we are lost each other in
oh cabelleros
when will it be done
when the laundry
seedpods whirled to give the impression of having whorls"

from Mike Hauser and Dustin Williamson *Talking Shop*

"MH: I do think that to write poetry (assuming one has spent time reading and processing the poetry of others) is to create a piece of culture. Speaking anthropo-something- ly the instinct to share would have come with the act of creating then, right? Not that I want to show you everything I write. That's not necessarily what creating an audience means. To me it's sort of like giving something to another person as a gift, so it exists as an entity apart from your own peception of it. But still part of your "receipts for existence."....And maybe then, paradoxically there has to be some level of isolation. I remember a Phillip Whalen poem (I think one to Bill Berkson) where he is basically saying how there are so many people around that one can't get anything done. But that's funcitionalty, or the lack thereof when one is surrounded by distractions. I mean a sort of maybe self-imposed isolation. Maybe an isolation that the poem imposes on itself."

from Jill Magi *My Penelope/Uraveling as Writing (notes on recent writings and visual works)*

"Even poetry drafts become too stable as I open up the computer document, noticing that it already resembles a printed page. Again, I thnk of H.D."....I know, I feel/the meaning that words hide...." When language is too much, I want something to actually touch and reshape. So I push old, nearly discarded book pages and maps away from their bindings and frames, arranging the markers of the written word into something illegible, visual. Noticeably incomplete, with signs of wear and tear, personal use, and distress."

from Kristy Bowen, *In the night theatre*

"there are far too many entrances
and exits. The girls who love
black shoes and vodka come and go
in the blue light, hiking up their skirts
and running their fingers along the edge
of the butter dish.They are easily subdued,
seduced by surgical pins and bottle glass.
Now we'd call them *nervy, a piece*"

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Gary Sullivan, *elsewhere* no. 3, $3.95 contact garypsullivan@gmail.com

Whap! Blam! Smash! This is the greatest issue yet in this terrific series of comics by the man who is bringing contemporary poetry and poetry culture the kind of humor it has long been desperately in need of. This issue features a selection from Gary's ongoing comic *The New Life* which has been appearing for ten years in *Rain Taxi Review of Books*. The mag opens with a useful and able introduction by Eric Lorberer, the editor of Rain Taxi. Included are comic potraits of such greats as Keats, Bernadette Mayer, Diane Di Prima, Paul Blackburn, WCW, Jackson Mac Low, and Robert Creeley. Less known geniuses are also featured in cameos, such as Jerome Sala, Rodney Koeneke, Sheila Murphy, Drew Gardner and Ernst Herbeck, I luciously enjoyed and laughed at loud reading the histories and spoofs of flarf, the language school and possibly most of all the saga of *Swoon*, Gary's legendary courtship of contemporary poetry'superstar Nada Gordon, who on Gary's pages emerges as a glamorous and zany composite of, let us say, Gracie Allen and Marlene Dietrich. There are serious strips too, including those on 9/11 and the bombing of Iraq. In these timely comics, which transcend into the timeless zone that Mallarme termied "pure poetry", Gary combines a razor edged observational wit with huge humanity and affectionate humor, a rare combination in an era where comedy swings wildly between, let us say, the ham and the hamster. And finally, frankly, I advise you to quickly buy this issue. It is incredibly collectible.

more...Gary Sullivan's play *Mozart and Salieri*, and a play by Simon Pettet are being performed this weekend at Medicine Show. Check Elsewhere; also paypal info for *Elsewhere #3*


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Yesterday evening John Coletti (who, by the way opens the issue of *the tiny* discussed above ("i miss you with tomatoes/over your eyes tatooed valentines/on your trachea zippering/each of my ungainly comments"), (and who, I am told, is the new editor of the PP Newsletter-something tells me he will be great at this- as were, say, Jerome Sala and Nada and Gary- I already want to get some stuff in there) read with Simon Pettet. Coletti, of course, is not the first poet to appear to be inhabited by the spirit of Ted Berrigan (Anselm, the former and now retired head of the Project for many years, was present)-did we also feel the presence of the ghost of Jim Brody, I heard it whispered? Who cares, he immediately won me over by talking affectionately about his three times a week therapy, and seemed to admire his therapist, who apparently insisted that JC talk about his reading, much to the poet's chagrin. Anyway, I like the guy fine, as apparently do many others, to wit the packed house at the BPC. But let's face it, the star of the show was Simon Pettet whose reading mesmerized me. And although I am a long standing denizen and citizen of the L=A school of poetry, I cut my poetic teeth in two workshops given by Ted Berrigan and one by Bernadette Mayer. I will not say I escaped unscathed, but I will admit I beamed throughout this reading lit up inside with tons of nostalgia. This was boosted by the presence in the room of the likes of Michael Lally, Marshall Reese and Nora Ligorano, and Basil and Martha King. Simon read from his lovely *Selected Poetry* and his latest contribution, *More Winnowed Fragments*. Simon gets away marvelously with reading his poems twice, and, as I said to him afterwards, you listen to 'em the first time but you feel 'em the second. Simon claims his poems are eternal and no doubt his instinct is correct. He's loveable and generous and as addictive and sweet as Haagen Daz in the summertime.

"EVERGREEN

I come to you
as an eternal person

and tho' I am loathe to go

Here is the calling card of my
immense proximity

and here is *your* calling card

and here is a pine cone

so redolent

You left it
over at my place"

(Selected Poems, Talisman House)


**

"There is a cruel, messianic, dim, tribal instransigence

That gains you nothing.

There is a bull-headed childish baby-tantrum

That can unleash untold consequences

I am appalled by the darkening of the sky"

*More Winnowed Fragments*, Talsman House

**


more...Michael Lally reviews the reading on lally's alley

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Fuhgetaboud a Condo, Buy some Property on The Moon!

Lunar Luxury

*If you lived here, you'd be home by now"
A lunar development from Eldritch Brothers, a Palmer Subsidiary
by Ligorano/Reese 2007

The New Moon
"the odyssey is just beginning
for the discerning few,
who yearn to leave the Earth Behind...."


"If you lived here, you'd be home by now," DVD, 2007

Keep the Change

curated by Meridith McNeal
Rush Philanthropic Arts Foundation

Nathan Cummings Foundation
475 Tenth Avenue, 14th Floor
New York, New York 10018

June 21, 2007 - September 14, 2007

Opening Thursday, June 28, 2007, 6- 8 PM

RSVP for this event by Monday, June 25

tel 646 485-1284

AND

New Prints 2007/Summer-SILKSCREEN

International Print Center New York
526 West 26th Street, Room 824
New York, NY 10001

June 29, 2007 - August 3, 2007

Opening Thursday, June 28, 2007, 6- 8 PM

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Addional info on The Tiny

the tiny #3 features work by Andrea Baker, Ellen Baxt, Edmund
Berrigan, Mark Bibbins, Daniel Borzutzky, Kristy Bowen, Joseph
Bradshaw, John Coletti, Rachel Conrad, Crystal Curry, Michelle
Detorie, Julia Drescher, Will Edmiston, Bonnie Emerick, Betsy Fagin,
Paul Fattaruso, Peter Gizzi, Scott Glassman, Sarah Goldstein, Garth
Graeper & Jason Sheridan, Eryn Green, Kristen Hanlon, Mike Hauser,
Anthony Hawley, Anne Heide, Brenda Iijima, Greg Koehler, Rodney
Koeneke, Michael Koshkin, Tim Lantz & Mark Yakich, Lauren Levin, Jill
Magi, C.J. Martin, Joseph Massey, Kristi Maxwell, Ange Mlinko, Michael
Montlack, Marci Nelligan, Nick Piombino, Billy Ramsell, F. Daniel
Rzicznek, Brandon Shimoda, Logan Ryan Smith, Maggie Smith, Chad
Sweeney, Derek White, Dustin Williamson, and Devon Wootten, with cover
art by Andrew Mister.

the tiny is available for purchase for $12.00 by clicking on the
PayPal link below, or by sending a check made out to Gina Myers or
Gabriella Torres to the tiny, 95 Verona St. #4, Brooklyn, NY 11231.

Paypal: the tiny-paypal


Also, please look for a number of upcoming tiny events, including
October 19th at the Poetry Project at St. Mark's Church.

Mallarme: Transpositions of Reading



from Stephane Mallarme to
Georges Rodenbach 28 June, 1892


"Your human history, at times so erudite, evaporates; and the city, in the form of a vast phantom, continues, or recovers consciousness through the characters, and all that's done with a subtle certainty which instills a very pure effect. All the modern experiments in reading seek to make the poem end as a novel, and the novel as a poem, but there's no doubt the writer is hampered by too many separate items if his juxtaposition is less exact than yours is here: and if he lacks your magic."

**

from Stephane Mallarmet to
Emile Zola 18 March 1876

"A book whose special aesthetics are in absolute harmony with whatever mode of reading its readers may adopt is a masterpiece."

On My Desk


Kate Greenstreet, *Rushes*
above/ground press

"The characters are introduced.
She seems unaware of him and in a kind of trance.
The stems are magnified by water."

Chelsea: Enclosures


Figuring this may be our last chance of the season, Toni and I headed out for a jaunt to Chelsea this past Saturday. We didn't expect much: the latest buzz had it that nothing much was happening this month. In fact, there were few people to be seen as we trudged the long streets between 10th and 11th avenues in quest of transcendence, or maybe just an aesthetic jolt. To my delighted surprise, we had plenty of memorable art to see. What follows is a sketch of that very satisfying day.

First off, we headed for the Pavel Zoubok Gallery, a diminutive affair at 533 West 23rd Street, the perfect scale for its mandate which is to show only collages. The show up now (which continues until August 10), is *In Context- collage & abstraction" This is a fine show- an available treat is a small catalogue for $10, with all color plates from this show. Many favorites in this show, Schwitters, Villegle, Nevelson, Amy Silliman, Tworkov and numerous surprises. A highly recommended show and gallery.

There's a fine show up at the A.I.R. Gallery (511 W. 25th Street) this month, work by an acquaintance of mine and Toni's, Joan Snitzer. The show opened on May 29 and continues until June 23, so you'll have to hurry. These are light and airy abstractions with lots of open space to move the eyes around in and not a little bit of finely delicate line drawing to guide the way. If you like Cy Twombly (who doesn't?) you'll very likely enjoy these too, but I'm not trying to say these paintings are in any way derivative. I found them delightful, sophisticated and charming and look foward to seeing wherever Joan Snitzer decides to go from here.

Moving on, as they so often say these days, and with Toni as my guide I have to because she covers a lot of ground quickly on a visit to Chelsea. In a day of very fine shows this one at the Betty Cunningham Gallery (541 W. 25th Street) was a knockout. Titled "It's All Spiritual: Art from Tribal Cultures", the show consists of pieces that originate from tribal cultures in the Americas, Africa, Indonesia, Polynesia, Melanesia and China, dating from 1100 BC to the early 20th Century. The show was curated by Alan Steele. The excellence of the curating was obvious in noting how incredibly interesting and engaging each and every piece was, very much including the 19th and early 20th Century pieces. Toni remarked how you can see in this show where so much contemporary art derives from; this and the sheer spiritual magic of the show was palpable the minute you starting examining the pieces closely. This is a show that should be the envy of museum curators everywhere. One of the standouts was a group of tiny figures reminiscent of Giacometti, dating from the 12th to 16th Century Djenne culture. The show closes on July 27th and is a must see.

I learned about the book parties at the Cue Art Foundation (511 W. 25th Street) only this year, to the surprise of my friend Charles North, but at least and at last enjoyed quite a few this year. This month at the gallery I liked nearly all the work I saw but particularly the work of Andrew Scott Ross, which, like the 12th to 16th Century piece at Betty Cunningham discussed above was a work consisting of tiny upright figures but these were placed in a miniature mountain landscape constructed out of gray cardstock. Especially after the Djenne piece mentioned above, this piece was haunting and revelatory. But there are other excellent works in this group show as well, including a fantastical painting of two figures in golden flowing robes that open out into biomorphic forms (Shalini Bhat) and some lovely abstractions by Emmy Cho and Maya Onada. Believe it or not, these are MFA award winners (the Joan Mitchell Foundation)- and you can pick up a nicely printed free catalogue at the show. Very satisfying!

Two more shows that follow today's theme of "enclosures." There's Dustin Yellin's impressive, biomorphic "Suspended Animations" at the Robert Miller Gallery (524 W. 26th Street). From the show notes: "For his second exhibition at the gallery, Yellin presents large scale, cast resin sculptures. Some tower over eight feet in height. His works, reminiscent of insects and plants captured in amber, are a fusion of sculpture and drawing. The illusion of encapsulated specimens in suspension is achieved by layering drawings in acrylic or India ink on resin. Yellin builds his drawings, sometimes as many as two hundred, one on top of the next, in precise orientations. The overlap and transparency of each layer reult in an astounding effect of three dimensionality."

I also enjoyed, at the George Adams Gallery (525 West 26th Street) new paintings by Sandy Winters. These are figurative paintings of a fantastical nature, that reminded me slightly of the work of Susan Bee. Hanging from trees are plastic bubbles that enclose strange unidentifiable, yet somehow recognizable drawings of creatures: a familiar landscape is thus converted into a kind of animated dramscape that is cartoonlike yet eerie in a through-the-lookinglass way.

All in all, Toni's Saturday Chelsea tour reminded me that even when your friends tell you nothing is happening in Chelsea right now, if you look closely-and have an artist as a super guide- you may still find yourself astounded.