that-unsound

25.11.07

great online journals

LA PETITE ZINE NO TELL MOTEL SUNSPINNER TYPO OCTOPUS FASCICLE DIAGRAM PUPPY FLOWERS MORIA MILK DUSIE ERATIO ZAFUSY ACTION, YES ELIMINAE
PIP LIT PETTYCOAT RELAXER FRIGATE FREE VERSE AMPERSAND UNPLEASANT EVENT SCHEDULE CAN WE HAVE OUR BALL BACK BORN COCONUT H_NGM_N FAILBETTER Listenlight SOFTBLOW SHAMPOO Pom2 LOCUS NOVUS TRIPTYCH HAIKU GALATEA RESURRECTS WORD FOR/WORD Pemmican The Adirondack Review Alsop Review Archipelago Blackbird BLACKBOX Cortland Review Dead Mule Drunken Boat Exquisite Corpse Foliate Oak Go Ezines God Particle IdentityTheory Iowa Review Online Jacket Magazine Konundrum Literal Latte Madhatters' Review McSweeney's Memorious Muse Apprentice Guild Paumanok Review Pif Magazine Pittsburgh Quarterly Review Richmond Review Sidebrow Slope Small Spiral Notebook SoMa Literary Review Tarpaulin Sky Triplopia 2River 3AM Magazine 3rd Bed Web del Sol WEIRD DEER Word Riot Words Without Border Glitterpony alice blue MiPo

great 'women' poets

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

20.11.07

blazevox verses 'being published'

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...
http://reconfigurations.blogspot.com/2007/11/jlyn-chapman-blazevox-and-publishing.html

blazevox really interesting publishing happening
http://www.blazevox.org/

Boston Comment discussion of post-avant and experimental definitions
http://www.bostoncomment.com/debate.html

18.11.07

xxperimental literature questions for 'women' by Joanna Drucker

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?
Joanna Drucker

more moore

mary-tyler-moore cunt show

see www.majenamafe.com for more

comedy/transgression in womens experimental writing

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:
cartoonist humor
funny words/language
funny objects
lampoon
romance gone wrong ie pain
satire
the black
the ribald
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...'

shifty women

http://glumbert.com/wii/view.php?name=womenfilm

17.11.07

Gertrude Stein resources on line

Stein resources by Category

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Quotations

Gertrude Stein Quotes

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stein-hejinian

To include Stein’s patriarchal poetry within the realm of feminine ecriture and to give a reading of Stein that will permit itself to turn around and be read by Stein, would be of great value... Lynn Hejinian

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lipstick of noise

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poetry and sound recordings

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back to ensemble • back to index

vermin fated jays

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".

http://www.collegenews.org/x5808.xml
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.

The Work:

“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.”

16.11.07

voice-sounding

Voice itself, isn't just a voice--it's also content.

Helene Cixous: Live Theory

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.

limits

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.

soundings

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.

I am not deaf-forgetting

Repository and Critical Artists Books Online

Found this fantastic and critical artists books online web...
http://www.artistsbooksonline.org/index.html
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.

13.11.07

mouth stuff

click here...
Rafael Rozendaal, Much Better Than This, 2006

12.11.07

x grrrl

Is xxperimental a better term for this area of writing, experimental is problematic so is innovative, so is contemporary... we need a new word.

cow-grrrl

'call out' for women experimental writers

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/
innovative/
avant-garde/
post-modern
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 Festival for Innovative Literature and Art April 2008

&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.

Rebecca Goodman
Martin Nakell
Vahid Norouzalibeik
Davis Schneiderman
Sophocles
Steve Tomasula

http://andnowfestival.com/

11.11.07

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.

DOWNLOAD FOR FREE NOW

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"

http://www.nongeneric.net/

10.11.07

Sucking Words

Ed Goldsmith sucking words on ubu. Web...great film talking about 'the world having enough sentences in it.. he is reassembling the ones he find...wonderful text pieces...

http://www.ubu.com/film/goldsmith_sucking.html

OOps-i-Daisy from objects for talking www.majenamafe.com

Rhubarb is Susan and color

http://rhubarbissusan.blogspot.com/ has a bit to say re the Youg/Spahr debate and experimental women's writing an essentialism, hes asking for a consideration/inclusion of women of color... (don't forget the who-evers).

Your so right mr Rhubarb is Susan, how can we talk about this and include everyone and not exclude any point, still that old essentialist point gets thrown up again and again...and people get so feisty about it.

There is so much exclusion around womens and womens writing, its a shame to see it in the community or at the edges of it. Writing, in Australia, innovative experimental stuff is almost all invisible, without a voice...Stephanie Young's call for opening to include a broader range of women writers into the community, quote below...is something I would like to get behind.

Dear Poet or Friend of Poets,

In the last year, we have co-written a paper that deals with representation of women in the US experimental poetry scene. (This paper was recently published in the Chicago Review as “Numbers Trouble” and we’ve put a draft of it and some supporting documents here. Right now, this is accessible only to users outside of North America. So, North Americans, get the Chicago Review issue here.)

One of the things our paper does is end up being a catalogue of what’s missing; a catalogue of some of the limits of a mostly white, mainstream US feminism in experimental poetry scenes. We see a myopic lack of attention to women’s issues outside of the US and a lack of collective action. We need more feminisms.

We end this paper asking people to write to us with suggestions about how to overcome this. Our intention is to try and compile a bunch of these suggestions for publication in order to start a conversation.

Would you be interested in being a part of this conversation?

Our plan right now is to start this conversation outside of the US.

There are several ways you could help us.

We are looking for local co-editors for different regions (right now, regions outside of North America) to gather brief statements from local writers about feminisms in their communities. Would you be willing to be one? What this means is that you would gather together some responses from writers in your area around this issue. You could gather as few as two or as many as twenty. It would be up to you. We like the idea of more but we’re flexible.

If you are not interested, do you think you could suggest someone who is?

If we were to get these responses, we then would need to get them translated. If you wanted to do this work with us (like if you translated these into an English that we could then smooth as necessary), that would be great. We might be able to pay you a small fee. If you don’t want to do it, we can probably pay someone else to translate it.

There are two ways we think it might be easiest for co-editors to get these responses. One is to just ask friends. The other is to put an ad in a local paper or journal like Jen Hofer did when she was editing her anthology of Mexican writing. If you are interested in putting an ad, again, we might be able to pay for the ad. It depends on how much it costs.

We think an ad might say something like this:

“FEMINISTS: TELL U.S. POETS
We’re a group of feminist writers who are curious what it is like to be a woman poet in _____. What should U.S. poets know about the living and working conditions of ____ women poets? What can be done? Is there anything to be done together? Send an email to telluspoets[at]gmail.com.”

But you could do whatever you thought was most appropriate.

We’d also like to know if there is anything you think we should say to US poets. At some point we will probably do a similar process-solicit responses from our friends and place ads to reach those we do not yet know-inside the US and any feedback you can share would be helpful.

If all of this seems too much, then can we talk you into just sending us a response? Or if you think of anyone you know who might be interested in doing this work, forward this and let us know.

Our deadline on this is somewhat flexible but not infinite. Our goal is to get this material into book form sometime in 2009. We would like to start getting responses sometime between now and spring of 2008.

Hope to hear from you.

Best,

Juliana Spahr and Stephanie Young

Well Nourished Moon

http://www.stephanieyoung.org/blog/

To Work

There is an interesting squabble happening in literary circles as they attempt to talk about elements of women and feminist womens writing in particular, its value seems the big question. This is interesting in itself. It seems outdated by 50 years or so. I stumbled onto it, when looking for analysis of what innovative/
avant-garde writing and womens writing in particular was doing at the moment in the US, because it is extremely hard to see whats happening in Australian womens writing because the demographic is even smaller, minuscule in comparison.

The debate as articles was published in the Chicago Review Autumn 2007 so just a few weeks ago. It goes something like this, WACK, an Art and the Feminist Revolution big blockbuster show was held at MOCA in the states, http://www.moca.org/wack, earlier this year. It was a good show, I think great, but I only saw it second hand... the response was varied, lots of criticism for the work as being essentialist and so not worth much or anything by 'general' (whatever that is) standards. Anyway to some extent the show gave rise to lots of juicy debate and articles, and an article by Jennifer Aston titled "Our Bodies our Poems". In it she said "the recent commitment to women as formal innovators...is utterly and literally essentialist...

Then followed this article by Juliana Spahr and Stephanie Young who argue obliquely that the system is still excluding women... they have some extensive statistics to demonstrate this...worth a read. Then Jennifer Aston replies and lastly Joshua Kohin and Robert P. Baird add their perspective.

“Numbers Trouble” by Juliana Spahr and Stephanie Young

“The Numbers Trouble with ‘Numbers Trouble’” by Jennifer Ashton

“Poetry Magazines & Women Poets” by Joshua Kotin and Robert P. Baird

This debate is so interesting because it reveals the literal stuck-ness in this sort of perspective. Both sides are right and there is no room for them working together. I think it points to a very real need for more analysis of what exactly innovative, experimental women writers working on as ...So I thought I'd start to try and map that a bit here, for my own benefit and for anyone who would like to look over my shoulder.

I do not have a agenda at this point except that coming from a visual art and a writing perspective, I have seen similar debates in visual art arena for decades and writers could benefit from some of the perspectives that have been initiated through the debate ... I think it would move things alone at a more interesting pace...

Over the next few months I'm going to explore things like what innovation and experimental are in light of Modernisms frames and the re-reading of those ideas all these years on. What then constitutes innovative work... the role of repetition in work, the value in nuance and the marginalization of it. How women are writing what they are writing, what the ideas are behind this work, what aren't they interested in, what the shifts in that are and then the impacts that has on writing but also thinking in general. I'm a real stickler for living the 'good' theory...
Comments and input greatly appreciated experimental/innovative/postmodern/avant-garde writing

9.11.07

online text by Bergvall

Online text by Bergvall

http://www.ubu.com/ubu/pdf/bergvall_eclat.pdf

25.11.07

20.11.07

18.11.07

17.11.07

Stein resources by Category

16.11.07

13.11.07

12.11.07

11.11.07

10.11.07

9.11.07

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