Cynthia Hogue and Elisabeth Frost in conversation with
Jane Joritz-Nakagawa author of Innovative Women Poets: An Anthology of Contemporary Poetry and Interviews
Elizabeth Bishop’s unpublished poems with lively annotations
Edgar Allen Poe and the Juke-Box: Uncollected Poems, Drafts and Fragments
Edited and annotated by ALICE QUINN
Carcanet Press £16.95
My love, my saving grace,
your eyes are awfully blue.
I kiss your funny face,
your coffee-flavored mouth.
Last night I slept with you.
Today I love you so
how can I bear to go
(as soon I must, I know)
to bed with ugly death
in that cold, filthy place,
to sleep there without you,
without the easy breath
and nightlong, limblong warmth
I’ve grown accustomed to?
– Nobody wants to die;
tell me it is a lie!
But no, I know it’s true.
It’s just the common case;
there’s nothing one can do.
My love, my saving grace,
your eyes are awfully blue
early and instant blue.
Alice Quinn, the charismatic and sometimes controversial poetry editor of The New Yorker, now Executive Director of the Poetry Society of America as well, has proved herself an impeccable and courageous critic and scholar of modern poetry with the appearance of Edgar Allen Poe and the Juke-Box, her more than- annotated edition of the unpublished poems of Elizabeth Bishop.
Two (poignant, erotic) poems salvaged or rescued by the poet-critic Lloyd Schwartz were published in The New Yorker in 1991 in the context of his article ‘Annals of Poetry: Elizabeth Bishop and Brazil’. A dozen other previously unpublished Bishop poems appeared in The New Yorker in the course of the 1990s and early in this decade; others surfaced in American Poetry Review, The New York Review of Books and The London Review of Books, all, we now know, the fruit of Alice Quinn’s ongoing research, with the permission of Bishop’s literary executor, the life-partner of her last decade.
Readers quoted and copied them; clipped them out; pasted them in notebooks; wondered how they had arrived at the journals and what their eventual disposition might be. Either Elizabeth Bishop was alive in
Syncopate is a musical term and means to shift the normal accent, usually by stressing normally unaccented beats, like when musicians do a different version of a song and they lengthen notes that were originally short. Hence syncopation syncopative syncopatable syncopatability insyncopatability insyncopatabilitation etc
I'm busy writing an essay on Gertrude Stein and Sounded Language
A sentence has been heard … now listen. Stein
There being some connection between liking and listening. Stein
There is a sound and obliqueness more obliqueness leads to harmony in hesitation. Stein
Ruth Salvaggio in her text The Sounds of Feminist Theory suggests that we pay a new close, closer attention to the sound of language – something she insists is neither voice, nor the spoken word, nor metaphor… ‘I mean the actual effects of sounding, wavering language in critical and theoretical writing- a distinctive turn towards the oral within the panorama of contemporary thought’. This place of resonance she tells us, will ‘instigate a new resounding language (that will) alter what we (can) hear and see and know’(S133).
I am reading Gertrude Stein as Feminist Theory and a theory about this sounding. Stein whilst not a feminist is a central to…feminist theory in terms of language, in that it offers an ‘indulgence in the transmutive potential of words, their ability to affirm and question and resist and endlessly suggest meanings, to be used for everything they are worth, and more’ (S5) her writing it can be argued is written as such but… I am vitally interested in work that ‘crosses over and beyond linguistic border, fusing and refusing the boundaries’ and as a visual artist I have come to feel after a 40 year engagement with the practice, like Salvaggio, that the ‘metaphors of visibility in women’s text will only go so far in helping us follow the changing and refracting properties of language as a medium’ in potential. The ‘possible meanings generated in a mobile language and epistemology question simplistic links between vision and knowledge, turn away from the idea that writing is a mere ‘transition’ of truth and note how language is continual altering what we see and therefore what we know.’ Steins work vibrates with ‘sounded oralities’…
Dupless echoes this ‘language does not lie still there is no permanent referent for words rather language suggests, evokes and resonates….I want to talk and talk and talk to you about Gertrude Stein and her talking to you about you and not you in talking...(extract from in progress)
Literary Feminism Conference in Melbourne 13-15 Dec 07.
I'm giving two papers
A little glossary of big whoppers-feminist experimentalisms
and Gertrude Stein and Sounding the Bright Ineffable
Bergvall reading more pets
From Upenn... thankyou
a more-dog dog
The poem goes on to complicate itself with chains of words
a more-turtle cat
a more-turtle-more-cat dog
a more-dog-more-cat dog
And so on. (Fig 86-87)
Also eclat download able from ubu web
Eva Hesse graff girlz mephista Beatrice Riese M.I.A. Kiki Smith Julie Becker Kara Walker Judy Chicago Mara Taber Yoko Ono Feminist Artists More Feminist Artists Cindy Sherman Frida Kahlo Barbara Kruger Lorna Simpson Women Artists Artemisia Gentileschi Julie Speed Women Artists in History Crossing the Threshold Agnes Martin The Slits Bridget Riley Rachel Whiteread Maya Deren Sarah Lucas
HOW2 belladonna* Kelsey St. Press Calyx So To Speak Kalliope Wicked Alice Dancing Girl Press Chicory Blue Press Firebrand Books Paris Press Seal Press Volcano Press Feminist Press Perugia Press repopo Red Letter Press Kore Press Switchback Books Outside Voices FOURSQUARE Big Game Books PoemMemoirStory(PMS) My Life Meritage Press Dead Horse Review Palm Press Flat City Press No Tell Motel Books Dusie Half Empty/Half Full Horseless Press Pilot Bird Dog Lame House Press Xantippe St. Elizabeth St. The Tiny ensemble jourine Chain Fence
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Sappho Emily Dickinson Audre Lorde Sylvia Plath Gertrude Stein Lyn Hejinian Harryette Mullen Adrienne Rich Gwendolyn Brooks Lorine Niedecker Mina Loy Laura Riding Jackson H.D. Jean Valentine Fanny Howe Cole Swenson Larissa Szporluk Brigit Pegeen Kelly Rae Armantrout Susan Howe Mei-mei Berssenbrugge Johanna Drucker Barbara Guest Myung Mi Kim Alice Notley Bernadette Mayer Aphra Behn Margaret Atwood Marianne Moore Missy Elliot Elizabeth Bishop Lucille Clifton Maya Angelou Eavan Boland Anne Bradstreet MC Lyte Amy Lowell Edna St. Vincent Millay Phillis Wheatley Christine de Pizan Ai Gwendolyn Bennett Rita Dove Dorothy Parker C.D. Wright Marilyn Chin Annie Finch Louise Glück Jorie Graham Mary Oliver Sharon Olds Lucie Brock-Broido Laurie Sheck Sandra Cisneros Naomi Shihab Nye bell hooks Muriel Rukeyser Queen Latifah Hannah Wiener Doris Cross Joanne Kyger Tina Darragh Rachel Blau du Plessis Elizabeth Treadwell Elizabeth Willis
Good post by Jocylin Chapman re BlazeVOX and the post-avant and self publishing. The ins and outs of new/emerging publishing options for writers...
blazevox really interesting publishing happening
Boston Comment discussion of post-avant and experimental definitions
How would you theorize about your work?
How does your [poetry] already articulate a theoretical position?
What attitude do you have toward theoretical and critical writing?
Do you find conventions of critical/theoretical writing inherently masculinist,
or masculinist by association?
What is the relation you posit between your gender and your [poetic] writing practice?
What is the relation between your gender and your attitude toward, or use of, or resistance to theory and/or theorizing?
I'm making a few notes here about the role of comedy in women's experimental (xxperimental) writing. I've been thinking how it acts as a transgressive model and a point of departure for language frames/meanings etc. Always interested in the limits of language. The tie between speech and conduct is bordered by comedy and moral indignation....comedy does not have the same ethical standards as everyday life...and thats an opening in the frame to me.
Comedy is also a series of lampoons/routines with no necessary or probable connection between them...much like experimental work.
Aristotle said comedy was the imitation of inferior people, and women are the most common theme in comedy.
When a woman speaks comedy herself she is thought of as doubly indecent. The lewd joke by her is the burlesque.. a farce-slapstick-the hilarious-improbably absurd character becomes a joke itself, spectacle and sound are lifted high, perhaps even past the importance of logos (word)
Think of Cary Grant and Hepburn Screwball film of 1940's.
Comedy though is also a firm denial of the underlying principle of tragedy.
Comedy offends. The question of aesthetic offense is interesting, who is offended and why do they choose to be offended? Is there a negative aesthetics, and what are its limits? The Greeks understood comedy as the 'Gods view' of life, unfortunately because of the loss of Aristotle's Comedy western civilization only has his Tragedies to shape our frames of being from, and since the middle ages, through the renaissance, right down to the current novel frame, narratives tragedy dominates.
The monotheistic view of one god, one book, one view, one voice is turned on its head by the 'other' any other and the fool- comedy... comedy is the fool. Comedy is in relation to authority the many, its other...
And what is off stage/off scene is itchly...more/than
'whats the difference between a circus and a strip club...
the circus only has a bunch of cunning stunts'
Comedy uses dry or realistic humor:
romance gone wrong ie pain
it uses conflict finding the ridiculous and play in obstacles or situations, it exaggerates when? where?
it uses negative aesthetics, ugliness, as a property of the object or the person or the situation
Comedy also circles around itself, finding the joke in being offended, the desire to avoid offense- which is a common trope and the avoiding of causing offense.
Still womens bodies are 'the' most offensive subject matter ... cunt...is rated the most offensive word/place in language.
I'm very interested in these and other linkage between comedy and xxperimental writing something I'm pursuing...the humor in Stein; 'No sense in no sense innocence of what of not and what of delight. In no sense innocence in no sense and what in delight and not, in no sense innocence in no sense no sense what, in no sense and delight, and in no sense and delight and not in no sense and delight and not, no sense in no sense innocence and delight'...the droll humor of Ronnell in Stupidity a very good read on the said subject; Scalapino work so dry it almost cracks /open...Carol Maso having a bit of a laugh at herself... The Australian writer Ania Walwicz in Scrambler... 'you jerk hid in what was said wouldn't you just a fine thing for her what she wants to do you just use said that she can't you won't give them plenty of i'm untended for king what does out this on a jiff a great greater greta thing just you in come back to me the then said rings for her things were gone just a laugh...'
Stein resources by Category
- Britannica Article on Gertrude Stein
- Dictionary of World Biography Article on Gertrude Stein
- Gertrude Stein - Journals and Periodicals
- Oxford Dictionary of Art Article on Gertrude Stein
- The Oxford Companion to American Literature Article on Gertrude Stein
- The Oxford Companion to American Literature Article on The Autobiography of Alice B. Toklas
- The Oxford Companion to English Literature Article on Gertrude Stein
- The Oxford Dictionary of Art Article on Gertrude Stein
- Critical Survey of Poetry
- Critical Survey of Short Fiction
- Drama Criticism
- Gertrude Stein - Critical Survey of Long Fiction
- Gertrude Stein - Feminism in Literature
- Gertrude Stein Criticism
- Poetry Criticism
- Short Story Criticism
- The Autobiography of Alice B. Toklas Literary Characters
- The Autobiography of Alice B. Toklas Literary Places
- Three Lives Identities and Issues in Literature
- Three Lives Literary Characters
- Women's Issues
- Cyclopedia of World Authors
- Gertrude Stein - Dictionary of World Biography
- Gertrude Stein - Identities and Issues in Literature
- Juvenile and Young Adult Biography Series
- Study Guides
Third Factory thankyou
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from Cathy Park Hong Dance Dance Revolution Norton 2007
"Now samsy, grab un gun. BB down de riving ravens,
de vermin fatted jays, y jade headed mallards who wit
insolence nest en botany o our #3 prize-winnim plants,
who dae nest en hearts o Russkies sculpt en shurbbery".
NEW YORK, N.Y., June 25, 2006 -- Barnard College recently announced that poet Adrienne Rich has chosen Cathy Park Hong and her work “Dance Dance Revolution” as the winner of the 2006 Barnard Women Poets Prize. The Prize, awarded jointly by Women Poets at Barnard and the publisher W.W. Norton & Company, includes publication of the work in April 2007 and a free public reading at Barnard.
“Dance Dance Revolution” is a book-length sequence of poems spoken in two voices, as Rich describes: “The Guide is a former South Korean dissident from the Kwangju uprising of 1980 (comparable to Tiananmen Square, brutally repressed with the support of the U.S.). She speaks a fluid international language called Desert Creole, which draws, the poem tells us, from 600 emigré language groups including Caribbean patois, Asian ‘pidgin,’ Spanish, Latin, German and Middle English. She is interviewed by the Historian, a Korean-American scholar raised in Sierra Leone, who annotates the Guide’s commentaries in standard English. There is a personal connection between the two, which is gradually revealed. The interviews take place in a planned city called The Desert (reminiscent of Dubai or Las Vegas) where replicas of major world cities have been built as tourist resorts, offering every luxury. The Guide has ended up, after her release from political prison, as a tourist guide in the St. Petersburg Hotel. The time of the poem is 2010.”
Rich, one of America’s most distinguished poets and influential feminist theorists, praises Hong’s manuscript for “the mixture of imagination, language, and historical consciousness.” The Guide, she writes, “speaks as one of those migrant people the world over whose past has been ruptured or erased by political violence, who plays whatever role she must in the world of the global economy, using language as subversion and disguise.” Hong’s work, she adds, “is passionate, artful, worldly. It makes a reader feel and think simultaneously, and rather then implying a nihilistic or negative vision of the future, it leaves this reader, at least, revitalized.”
Labels: xxamples others
Cixous's 'ecriture feminine' changed everything for writing. This book published in 2004 by Ian Blyth and Susan Sellers introduces her work and life and interplays each against the other 'a-bouncingly' that resinates both ways...creating work that is theory and not theory at the same time...
Her emphasis is on poetic writing not being on the destination but about 'the illumination that is the journey'. Cixous' work moves away from gender-specific formulations, instead emphasizing a particular libidinal economy... one that creating a writing that avoids both appropriation and annihilation.
I'm wondering now what is beyond feminine ecriture and Language what intertextualities are coming through now especially since the shift from Lacan to Melanie Klein. Blogs of course are intertextual!
Helene Cixous, from her essay "The Laugh of the Medusa":
I shall speak about women's writing: about what it will do. Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies -- for the same reasons, by the same law, with the same fatal goal. Women must put herself into the text -- as into the world and into history -- by her own movement.
I have a big interest in outsider texts, founds and or
finds...This piece is a terrible/heartfelt so raw.
So called' outsiders' bless their/our souls
have alot of room to work/write/be in....
Emma Hauk's (the other one is by??)
works, above, are incredibly moving,
This piece has 'darling come soon'
written over and over and over and over on it
These two pieces belong together I think. or not.
They both about big stuff.
Labels: xxamples others
Soundings....the sounds in language and language or experimental writing
are a source of big interest to me. As a frame for experience that is less mediated than written text, I am interested in exploring more of what can be shifted, slipped into and opened out in language though a concentration on the sounds in it.
Ruth Salvaggio in The Sound of Feminist Theory suggests that we pay attention to the sound of language -- something she insists is neither "voice," nor the spoken word, nor metaphor: "I mean the actual effects of sounding, wavering language in critical and theoretical writing -- a distinctive turn toward the oral within the panorama of contemporary thought". Her project is to trace these effects through feminist critical and theoretical writings, which she believes are particularly attuned to the resonances and possibilities of language. Feminist theory, she argues, offers an "indulgence in the transmutive potential of words, their ability to affirm and question and resist and endlessly suggest meanings, to be used for everything they are worth, and more"
I'm interested in seeing it explored in theory yes yes, more please, but also in texts themselves and 'other ' language pieces ie film/sound works. I've been making sound recordings of voice clearings...small films. Interested in seeing how these can be expanded.
Found this fantastic and critical artists books online web...
An online repository of facsimiles, meta-data and criticism. Joanna Drucker Against Fiction is great but so are most every 'other'. Really worth a look into. I've been making artist books for a while now and find the freedom to shape the look of the whole thing really opens me to thinking what is possible for extending writing.
Hi, I've decided to take this interest/blog of mine a bit further... within 24 hours I have had a surprising amount of feedback to this site, so I've decided to go a step further.
I'm would like to put out the call to women who write with an experimental/
framework...(I know these terms are problematic, and each term needs an essay or two written on what I mean-but they will do for now) to see who we are and what we are doing. This is both a larger international call and a local one...as Emily Kngwarreye said I paint "the whole lot".
An invitation to make some links between us and us ...
The US leads as the place for this type of exploration into language/writing by women…but I’m pretty determined though to get a community of like minded exploration started here and connected to the writing ideas coming out of the US.
This work needs good conversation, and lots of it and that’s what’s so lacking in the Australian literary scene. Isolation is like silence and so not very helpful. And not the truth (what ever that is) Anyway its not flowing...
I’m thinking that experimental women’s writing coming from the margins of the margins (here) might be able to contribute to the fruitful project, I would like to build connections between us if possible… Any leads… contacts, conferences, connections and comments oh so gratefully collected here…Cheers Majena
ps..."This is emily dressed up...Emily turned the aesthetics of Aboriginal art inside out (or more appropriately outside in). Her revolutionary breakthrough involved a radical change in emphasis—in making the iconography of her stories of secondary importance to their "overall" abstraction. Emily choose to highlight the “emotional content” of her Dreaming stories rather than their specifics, suffusing both symbols and structure beneath sensual passages of dots. The grid of lines, which had served as the bones of her earlier paintings, was gradually obscured altogether, but remained as the inner logic of these middle period compositions". http://www.aboriginal-art.com/desert_pages/utopia
&NOW gathers together two things in their constant motion: writers inventing form, and the forms that are already “the past” as soon as those writers move on to their next invention. To gather the moving requires the grace of contingency.
We are a conference that calls itself a festival because we festivate the confrereity of our common difference. &NOW comes together to give meaning to words or ask words to give meaning to us, both of which always fail!
In that failure, resides the richness of our ignorance.
Even its radiance.The product of radiant ignorance is art. This is not new. How we do it is &NOW.
The product of ignorant radiance is the unpronounceable word: human.
&NOW is the not then that never passes.
&NOW is the letters of the names of all its conferees scrambled into a zetabet.
&NOW is not an anti-conference because transgression defers recognition.
&NOW stands in the danger zone between popular culture & the elitism of native intuition.
&NOW has fun at no expense; for free, like words are, no charge.
&NOW is the ampersand that signs a sign for a sign signaturing the presence of the present in the past.
&NOW is a message to narrativity signifying that all is well
&NOW is a message from narrativity simplifying that nothing ends, well or ill.
&NOW: a sentence that contradicts itself/ /&/, so contradicting, sets a standard for comprehending love /&/ religion /&/ nature /&/ politics as portrayed by the fictionalists beginning this year two thousand seven anno domini.
&NOW is a literary movement without authors that comes into view for 3 days biennially -0041067% of time- so that those authors without whom this literary movement does exist gather to keep literature in motion.
&NOW is theater that has moved off the stage but continues in search of the seven props it needs to make the emotion of the action live to make live action mind
&NOW redefines the halls of academe that they be no longer safe from the fear of the ampersand and/or the chaos of a now.
&NOW arrives 200 years after Ivahoe, 100 years after Freud, 50 years after Picasso, Elvis & Faulkner, and fourteen years after www., it arrives kicking its limbs screaming its lungs in voice & gesture that articulate arrival.
&NOW includes all those art•lit•ists from New York to Los Angeles for whom the medium is the muscle but traveling eastward from New York eastward with a sweep spread from 0° North to 180° South to catch every language in its net woven of the pre-linguistic thought of the world’s current 250,000 child-soldiers as they sleep.
&NOW exists that the gag of terror not create silence.
&NOW recalls commerce as a form of interaction outside the monetary systems while it rings the bell.
&NOW rings the bell to open trading on each day’s aesthetic market then listens all day to the bellringing echo /&/ then goes home after the dayclosing bell reinaugurates the sound•syllable that begins the invocation at the outset of each fiction-act.
&NOW, recognizing that its murderer’s lurk in the shadows turn on the darkness to expose them to a fright.
&NOW is ’04(NotreDame)•’06(Lake Forest)’08 (Chapman) toward infinitum: a quantum equation designed to utter irresolution.
THE MATERIAL POEM
an e-anthology of text-based art & inter-media writing
The Material Poem is a new e-anthology, edited by James Stuart and published by non-generic productions. It features the work of some 28 Australian poets, artists and critics, all of whom are engaged with poetry, and more broadly language, as a material form.
This body of work is inter-disciplinary, inter-media and often collaborative, spanning a wide variety of formal contexts – page, screen, canvas, space, book, performance and more. The Material Poem showcases the vibrancy of experimental writing in Australia, demonstrating how writing functions as a practice that is never purely literary.The Material Poem is available as a free PDF download. File size: 46.9mb. For best results, right-click on link and select "Save link as", "Download linked file" or "Save target as"