Duende

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Duende, a new online (and beautifully designed) literary journal run by the good folks in Goddard College’s BFA Program, is accepting submissions for its inaugural issue.  The editors say,

If your poetry is rough-cut diamonds, slightly off-kilter; if your fiction will make us feel more human and less alone; if you enjoy exploration of new forms at the edges of the literary universe; if you can bring us elegant translations of literature from far corners of the globe; if your nonfiction is wild and honest; if your visual art is raw and earnest…show us. We want to see it.

According to one of my favorite poets, Nathaniel Mackey, “One of the things that marks the arrival of duende in flamenco singing is a sound of trouble in the voice, The voice becomes troubled. Its eloquence becomes eloquence of another order, a broken, problematic, self-problematizing eloquence.”  Send your broken, problematic, self-problematizing eloquences for Duende‘s arrival (which is slated for October 2014) by May 15th.  UPDATE: THE DEADLINE HAS BEEN EXTENDED TO JUNE 1ST.

 

Hyperallergic Weekend: Oct 13th

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A painting by Rick Beerhorst


The current issue of Hyperallergic Weekend has a lot of great stuff. I’ve been enjoying John Yau on Rick Beerhorst and Barry Schwabsky’s wonderfully polemical “Why I’m Not Reading Louise Glück.” In the latter, I love this sentence by Schwabsky, which begins at Point A and ends with Point Z (or rather Point X): “Glück is one of the best-known American poets, a native New Yorker who has won just about every prize and honor available — Pulitzer, National Book Critics Circle, U.S. Poet Laureate — and taught at all the famous places to be taught poetry; better still, as I’ve just learned from Wikipedia, her father helped create the X-Acto knife, a tool I’d recommend to every poet who hopes to carve more precise verses out of the thick and messy matter of our speech.”

I’m also in the mix with a review of Lytle Shaw’s Fieldworks: From Place to Site in Postwar Poetics.

Charlie Sayzz – twitter poem – PRESS RELEASE

PRESS RELEASE

Charlie Sayzz

A twitter poem made from Iraq/Afghanistan war reportage, intercut with quotes from cult leader Charles Manson, will tweet 1 Oct onwards from: https://twitter.com/CharlieSayzz

The poem draws comparisons between psychopathology and foreign policy.

Charlie Sayzz is constructed from incorrect 18-syllable haiku, to be transmitted one per day for the next year. The haiku is a much-abused and appropriated short (17-syllable) Japanese form, often meditative and peaceful. It is chosen here for its very in-appropriateness as a vehicle for war poetry. And yet under the placid surface, haiku surely is angry, because it is now such a colonised poetry. The extra syllable in these ‘bad’ haiku is to create dissonance (in old numerology, 9 is the number of aggression and 18 syllables ie 1+8 = 9).

The poem was devised by Philip Davenport and co-written by him with Richard Barrett, Steve Giasson, Tom Jenks, Michael Leong, copland smith and Steve Waling.  Tom Jenks programmed the twitter feed and shaped many of the haiku as visual poems.

This project is a parallel to Davenport’s novel Charlie Says (2013)

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Blackbox Manifold No. 10 (Summer 2013)

The new issue of the always enjoyable Blackbox Manifold was just launched.  It features work by Billy Cancel, Rick Crilly, Josh Ekroy, Michael Farrell, Joanna Grigg, Bernard Henrie, Joan Harvey, David Herd, Beau Hopkins, Drew Milne & John Kinsella (together), Peter Larkin, Robert Mueller, Sandeep Parmar, Peter Riley, Jennifer Scappettone, Kerrin P. Sharpe, Nathan Thompson, Corey Wakeling, Duncan White and Rachel Zolf; accompanied by a fine essay by Sam Ladkin on Frank O’Hara, and a review of John Matthias by Adam Piette.

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FACE OUT: Maximizing the Visibility of Emerging Writers, Reading & Reception, 6/12/13

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Julie Buntin, the Director of Programs & Strategic Outreach for CLMP, says, “We’ve got a lovely reception planned with enough food and drink to feed an army of starving writers–or just hungry ones.”

I hope that the refreshments–along with the diversity of poets and presses represented–will provide enough incentive to go. Do come by if you’re free and around.

WEDNESDAY, JUNE 12 AT 7:00PM
Housing Works Bookstore Cafe
126 Crosby Street
New York, NY 10012

This celebratory event features short readings from exceptional emerging writers supported through CLMP’s FACE OUT program, which grants publisher/author teams funding for technical assistance to help spotlight independent, experimental titles. Readers include: Cynthia Cruz (Four Way Books), Farrah Field (Four Way Books), Michael Leong (Black Square Editions), Albert Mobilio (Black Square Editions), Jon Leon (Futurepoem Books), Francis Richard (Futurepoem Books), R. Erica Doyle (Belladonna Books), LaTasha Diggs (Belladonna Books), Dan Magers (Birds, LLC) and Ana Bozicevic (Birds, LLC). The FACE OUT program is supported by a generous contribution from The Jerome Foundation and the New York Community Trust.

No Medium

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I published a review of Craig Dworkin’s No Medium (MIT Press, 2013), a study about “works that are blank, erased, clear, or silent,” in the latest weekend edition of Hyperallergic.  This is a bit of what I said:

…in “The Logic of Substrate,” the first and strongest chapter of the book, Dworkin provides a definition that affords us a more elegant and refined, if not novel, understanding of how media operate: “Those objects that are casually referred to as ‘media,’ … are perhaps better considered as nodes of articulation along a signifying chain: the points at which one type of analysis must stop and another can begin; the thresholds between languages; the limns of perception.” In this sense, the title No Medium acts as a kind of homophonic and edifying mnemonic: to realize that there is no medium — or better yet, to put the term “medium” sous rature, that is, under erasure — is to know media in a richer and, to use Dworkin’s own phrase, “more robust” way.

I notice that Amazon lists the book with a significantly different cover…as if it were deliberately supplanting what appears to be a polaroid photograph with the older medium of monochromatic painting, a kind of lighter version of Yves Klein’s blues.  Can anyone account for this difference?  

The image is embossed on the cover and I’m guessing that might have something to do with it…

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