Literarisches Events (in and around Lawrence KS)

  • PATRICIA LOCKWOOD. Lawrence. Thursday, September 11, 7:00 p.m., Spooner Hall, KU Campus.
  • PATRICIA LOCKWOOD. Lawrence. Friday, September 19, 7:00 p.m. Lawrence Public Library. Sponsored by Raven Bookstore.
  • DENNIS ETZEL, JR. & RACHEL CROSS. Lawrence. Thursday, September 25, 7:00 p.m., Raven Bookstore, 6 E. 7th St.
  • TONY TRIGILIO. Lawrence. Thursday, Oct. 2, 4:00 p.m., English Room, Kansas Union, KU Campus. FREE.
  • CALEB PUCKETT & JUSTIN RUNGE. Lawrence. Thursday, October 16, 7:00 p.m., Raven Bookstore, 6 E. 7th St.
  • BEN LERNER. Kansas City, MO. Thursday, October 23, 7:00 p.m., Epperson Auditorium, Vanderslice Hall on the KCAI campus, 4415 Warwick Blvd.
  • KRISTIN LOCKRIDGE & ROBERT DAY. Lawrence. Thursday, December 4, 7:00 p.m., Raven Bookstore, 6 E. 7th St.

Friday, September 12, 2008

Slow Blog? 2

All this talk about slowness is making me sleepy.

Nonetheless, since it's happening in the blogosphere, it got me to thinking about how we (I) spend our time. A lot of us read blogs b/c we're avoiding more unpleasant tasks. Sometimes blogging is that unpleasant "task." In other words, as with most labor-saving devices, blogs may be beefing up our to-do lists - making us busier, more frazzled, etc. Or they may (can) be a relief or time-out from those tasks. (You can see where I'm going with this, right? If so, please tell me, b/c I don't)

But seriously, folks - what if we all agreed to blog no more than 100 words per day - that's 3000 words per month, 36,000 words per year. That's a lot of words - to write or to read. On top of all the others we're writing and reading. Blog bites.

A reflection: going slowly shows you how fast you have to go to keep from falling farther and farther behind.

Less word - be happy yes!

This post is 183 words, including these words.

Wednesday, September 10, 2008

The Same Only WRO-ong!

At the end of July, I posted an entry entitled “The Same – Only Different,” a response to Robert Archambeau’s comments on unacknowledged similarities between the poetics of supposedly competing “camps” in Poetryland. It drew a couple of comments, and since I don’t have anything new to say, I thought I’d return to it. First of all, I referred to Allen Tate’s statement that “poetry finds its usefulness in its perfect inutility,” and blithely continued:

“All of which might be an interesting angle on Dale Smith’s SloPo. The purpose of slow poetry is to sever poetry from any vestigial links to the market economy – and to help its devotees to move in that direction. This is, however, not a desire to destroy poetry’s use value; quite the contrary, since the point is to produce an improved quality of life.”

To which, Dale Smith:

“I don't think there's anyway to isolate one's self from the global economy. That's not the point of slo poetry. . . . Slow Poetry like the other slow movements brings attention to the lines of transport and exchange, thereby giving people ways to reflect more accurately on how the exchange takes place.”

Point taken, Dale. I just wish it actually were going to make everything slow down. Can’t you do something about that?? I’m tired of reflecting. But I want somebody else to do it.

Reflecting is what I get paid to do, in part. That’s so “intellectuals” don’t do anything stupid, like political organizing.

The second comment came from Robert A. himself, who wanted clarification on this rather sententious utterance: “However, this is not the result of some Hegelian self-identity inherent in (or emerging from) the nature of things. It is the material genealogy of an idea – an idea that should be considered within the specifics of particular moments in the history of liberal-democratic/capitalist society.”

Here’s what I wrote him in an e-mail (for better or worse):

“About that last paragraph from the post: looking at it between quotation marks makes it seem like a really bad parody of early Marx. There was that bit at the beginning of your post re: your reading Hegel in grad school, over-against poststructuralism (or something like that), and since I was in part agreeing with what you had to say, I guess I felt the need to distinguish my position from an Hegelian one.

“I'm sure you know lots more about him than I do (it's been a long time since I've read Mr. H.), but I do recall a lot of talk re: reconciliation and unification of contradictions in the Absolute Idea - ‘the reunion of what has been parted’ - or differences' being like the flower, fruit, and leaves of the same tree (i.e., unimportant, when compared with the fundamental underlying sameness). Which means similarities represent the really real and the truly true. Or something like that.

“Anyway, I reckon I take a rather more pedestrian view of things than H. I'm looking for causal connections in discourse via specific people and words (and the interests they express). Hegel would probably say that this is the (apparent) victory of Understanding over Reason. I don't know. In any event, it seems to me that it's the result of specific people reading particular books in a given time and place (and, perhaps, identifying with the same social class or even clique). Whatever else a particular similarity may express - any wider-angle, metaphysical, or bird's-eye speculative view - I pass over in silence. That's all.”

All of which is rehashing an old hat, to be sure. But that’s what blogs are for, nays paw?

Speaking of which, I love the way that, when you mention someone in your blog, they get in touch. So if I were to mention the name “Monica Bellucci,” say . . .

Tuesday, September 2, 2008

Does This Kind of Stuff Happen to You?

For instance, you're mailing manuscripts or submissions in manila envelopes. You turn up those little metal tabs, lick the flap real good, then press down the flap to make sure it sticks. But your finger hits the little metal tabs, which turn out to be sharp as knives. Ouch. But then there's this red shit on your envelope. Uh oh. So you spend the next 30 minutes with a ice cube in a washcloth pressed tightly to your finger. In the meantime, somehow, you try to wipe away the blood, not expecting very good results (but you don't want the editor to think you're putting the juju on him/her), and amazingly, it wipes away, clean as a whistle! You manage to put a band aid on the finger (tightly) with one hand, and the bleeding stops. So now, no matter how many rejection letters you get (or no letters at all), you can still say, "Well at least I have my health!" And if that's not a happy ending I don't know what is.

Friday, August 29, 2008

Tentative Thumbs Up for Lisk's List

Eat your heart out, Variety . . . But seriously, folks, I have to say I like Thomas David Lisk's chapbook tentative list (a) [Kitchen Press, 2008], if for no other reason than he's thinking of poems as visual art - space of the page, blah blah, sure, but also fonts, boxes, pictures, characters, colors. AND: it's also a score for voice (if you bother to read it aloud). There is some serious stuff going on in terms of content/theme - a la DuPlessis' Drafts, maybe - but it's much more scattered. I don't know if that makes me feel more or less stupid than DuP does. Anyway, it's only seven bucks, and it's worth it.

Also: URLs imbedded in the body of the poem, which of course opens it out into the virtual world (and makes it an historical record, when that world crashes).

If Baumann is the poet of tic tac's, Lisk is the poet of tick tacks.

"deus et homunculus, Dorothy Gale and the Wiz, the wizard and the traveling salesman, uninterested in the farmer's daughter, the traveling salesman and the actor [Frank Morgan] who played several parts (thespian wizadry), so there was no hot air balloon in Kansas or Oz. Kansas and Oz: false oppositions dissolve false dissolve repetition and screens temporarily closed owing to a small quantity . . ."

Thursday, August 28, 2008

Abraham Lincoln 3

No, not some bad cyborg movie, but a poetry journal. The third issue branches out to include non-Flarfistas (non-card-carrying, anyway) such as Lyn Hejinian, Dodie Bellamy, Jim McCrary. And a superb longish poem by Robert J. Baumann - a sexy tic-tac poem, in fact.

I esp. like Bill Luoma's piece in same. It starts w/a reflection on William Gibson, but degenerates into a programming protocol - like the back of Susan Wheeler's Source Codes (by far the most interesting part of that book), but with more of a sense of the boredom of actually doing the work of writing code. As if to say, "you think computers are so cool? Well, you don't work in a cubicle . . ."

MariaAna: Whoa - that's a really freaky cover.
Joe: That's the idea.
MariaAna: Well, they cinched it.

Anyway, see the link to LIME TREE at right, to track it down.

Monday, August 25, 2008

The New "Description"

I recently posted a new "description" for this blog (under the title). It's what the linguists came up with to warn people 10K yrs. in the future that there is a nuclear waste dump underfoot. Yes, it's in English (hey, people were speaking English 10,000 years ago, so why shouldn't they - oh - wait . . . never mind . . . ).

Harry Shearer imagines what those people will be thinking: "Yep. There's gold down there."

But it's a pretty good description of this blog and its place in the blogosphere, and it's a much better poem than any you're likely to read here. So - enjoy! But don't dig too deep . . .

Thursday, August 21, 2008

Parental Descent (Prevallet and Schultz)

I recently read two books about lost parents - Kristin Prevallet's I, Afterlife, and Susan Schultz' Dementia Blog. The Prevallet is an interesting combination of elegy (for her father, who committed suicide) & reflections on elegy (writ large - as mourning in the strict sense, vs. after-death sequels). The Schultz is, of course, in the form of a blog: backwards narration, dates, offhanded diaristic style (largely about her mother's Alzheimer's). I, Afterlife is much tighter - shorter, more concise, more focused. Dementia Blog is about three times as long, and seems intentionally looser, less wrought - as thought S. is determined to let whatever interactions or misprisions occur, occur. And, of course, it's about dementia, which isn't esp. tidy. The narrative of the loss of memory of her mother is bound up with the narrative of loss of historical memory as evidenced by US foreign policy. Sometimes the latter seems to get more play than the former, in the book; and who can blame her, given recent events in both the nation and her family.

I,A emphasizes spatial distance; DB emphasizes temporal displacement (too simplistic?).

As someone engaged in a similar memorialistic/(anti)memoiristic writing, I find this pairing fascinating for the different models it suggests. But they have different emphases - the one to mourn, the other, to narrate. Both do both. Both seem very aphoristic to me, as well as lyrical and narrative. What I like about both is their refusal to hew to any particular genre or sub-genre; even elegy and blog are subverted, in interesting and productive ways. Which is as much as to say that they refuse to hew to any particular way of reacting to losing a parent (or country, or self).

Saturday, August 16, 2008

Ye Gadd!

I just read Subway Under Byzantium, by Vancouver poet Maxine Gadd. Pretty weird. In a good way. The long poem "Loon," which opens the book, is pretty amazing - a visionary dream (or shroom) journey with some gender-bending archetypal characters. Descent of Alette meets Gunslinger. The shorter poems in the book are choppier - sometimes to the point of seeming like inside jokes - but there's a lot of amazing stuff, sometimes funny (a la bpNichol, maybe?), sometimes creepy or schizy. "no sex magic in the next hexagon" - or pentagon - but plenty of spells - and full utilization of page-space and graphical resources. Worth checking out.

Friday, August 8, 2008

Arendt on Brecht (and boffo avant-garde box office)

The avant-garde did not know they were running their heads not against walls but against open doors, that a unanimous success would belie their claim to being a revolutionary minority, and would prove that they were about to express a new mass spirit or the spirit of the time. Particularly significant in this respect was the reception given Brecht's Dreigroschenoper in pre-Hitler Germany. The play presented gangsters as respectable businessmen and respectable businessmen as gangsters. The irony was somewhat lost when respectable businessmen in the audience considered this a deep insight into the ways of the world and when the mob welcomed it as an artistic sanction of gangsterism. The theme song of the play, "Erst kommt das Fressen, dann kommt die Moral," was greeted with frantic applause by exactly everybody, though for different reasons. The mob applauded because it took the statement literally; the bourgeoisie applauded because it had been fooled by its own hypocrisy for so long that it had grown tired of the tension and found deep wisdom in the expression of the banality by which it lived; the elite applauded because the unveiling of hypocrisy was such superior and wonderful fun. The effect of the work was exactly the opposite of what Brecht had sought by it. The bourgeoisie could no longer be shocked; it welcomed the exposure of its hidden philosophy, whose popularity proved they had been right all along . . .

- from The Origins of Totalitarianism, Part II

Sunday, August 3, 2008

Slow Blog?

True or False?: "Blogs are a gift economy."

Be sure to explain your reasoning.

["To give" = To bestow.
["To gift" = To bestow something that the recipient is supposed to want.]