Saturday, 28 July 2007

Tinfish Press's “Send a Book to a War Criminal” Drive

From Susan Schultz:

"Tinfish Press has just published a chapbook by Sarith Peou, titled CORPSE WATCHING. This book of poems details Peou's experiences under the genocidal Khmer Rouge regime in Cambodia. Please see http://tinfishpress.com/corpse.html for details.

I decided to send a copy to former Secretary of State and Nobel Peace Prize Laureate, Henry Kissinger, whose actions were largely responsible for the Khmer Rouge's coming to power in 1975.

But we want everyone to have this chance. Send $10 to Tinfish Press (less than the usual price of $12) and we will send a copy of the book to the war criminal of your choice with a personalized card to say who's responsible for sending it along. There are many such war criminals—choose one or more. If at all possible, please track down their addresses for us.

Susan M. Schultz, Editor
Tinfish Press
47-728 Hui Kelu Street #9
Kane`ohe, HI 96744
http://tinfishpress.com"

Wednesday, 25 July 2007

Here are my instructions

KATE FAGAN & REDELL OLSEN
Thursday 26th July, 7pm
Royal Holloway,
2 Gower Street, London
(Nearest tubes: Goodge Street or Russel Square)



Kate Fagan is a writer, editor and musician based in Sydney. Her first collection of poems The Long Moment (Salt, Cambridge UK) was published to international critical acclaim in 2002 and she has several chapbooks including return to a new physics (Vagabond, Sydney 2002) and Thought’s Kilometre (Tolling Elves, London 2003). A full-length CD of readings entitled Cellular Time is due for release by Stem Recordings in London later this year. Her poems have appeared in a range of national and overseas journals including Jacket, Salt, Meanjin, Southerly, The Melbourne Age, Cordite, Prague Literary Revue, Overland, The Kenyon Review and The Literary Review and in the anthology Calyx: 30 Contemporary Australian Poets (eds. Brennan & Minter).

Redell Olsen was educated at university in Cambridge and London. Her publications include Book of The Fur (Cambridge: Rem Press, 2000), Secure Portable Space (Hastings: Reality Street 2004), Here Are My Instructions (London: Gefn Press, 2004) and Punk Faun: a baroque pastel (London: Parataxis Editions, 2006). She is the editor of the internet journal How(2) and course director for the MA in Poetic Practice at Royal Hollowarts, University of London.

Tuesday, 24 July 2007

From "Murphy"

By Samuel Beckett.

If she did not acknowledge these gifts, at least she did not return them, so that Neary continued to hope. Finally she gave him a forenoon appointment at the grave of Father Prout (F. S. Mahony) in Shandon Churchyard, the one place in Cork she knew of where fresh air, privacy, fresh air and immunity from assault were reconciled.

Neary arrived with a superb bunch of cattleyas, which on her arrival two hours later she took graciously from him and laid on the slab. She then made a statement designed to purge the unhappy man of such remaining designs on her person as he might happen to cherish.

Saturday, 21 July 2007

To do

Shed yr shekels at Anarchists Against The Wall. Their hearts are leonine & their name funny.

Friday, 20 July 2007

To do

While the blog was hidden I thought I might finish some fragments. But I wasn't finishing anything so here it is again, for a bit anyway. Francis Crot's blog is still private, because I guess he might want to publish some of it some day, but if you want a look just say & I'll add you. The most grating fragmentation is the incomplete set of fragments on Andrew Motion's poem, the incomplete set of fragments on Simon Jarvis's The Unconditional, and the half-hearted plunders of Don't Start Me Talking and the most recent Chicago Review; labels are also poisonously carefree. I want to add How the Pig Got His Face to the set I've been blogging from Kipling's PCP notebook. It establishes contexts for How The Doggie Got His Egg Tooth. FUCK OFF YOU’RE BOTHERING MY FUCKING CUSTOMERS. Promises regarding John Cayley's "Demons of Imposition" and Andrew Duncan's Chicago Review map may yet be kept. Leer peaks harmonise & this unfortunate crafty moment sickens Sarah. See that star? It’s our star. It winks out. Probably behind a cloud.

We wait about 10 min.

Wednesday, 18 July 2007

Soundeye 2007

Tom Raworth's photos; jUStin!katKO's; footage of jAMelia! & me & of me; Meshworks where more footage will eventually appear; Mairead Byrne's Cork diary (you may need to subscribe to the British / Irish Poets list to see it); the Soundeye site; Default Publishing; Morna.

Thursday, 12 July 2007

Good times

Mr. Prynne's Notes and Materials for English Students. "Ezra Pound, Poetry (Chicago), II, 1 (April 1913), reprinted thus in New Freewoman, I, 5 (15 August 1913); later reprints close up these internal spacings (on which see Selected Letters, p. 17)--see CSP, p. 119, but also contrast Pers, pp. 111, 273 and 251; Poems and Translations, ed. Sieburth prints without spacings but reproduces them in a note (p. 1280). 'Bright and flameless lights had taken the place of the old petroleum lamps; undergrounds, once smelly and sulphurous, were now cool, white and brilliantly lit tunnels' (Ezra Pound's Kensington, p. 50; cf. pp. 117-8); see also Susan Buck-Morss, The Dialectics of Seeing; Walter Benjamin and the Arcades Project (Cambridge, Mass., 1989), esp. p. 159. For 'apparition' compare Pound's discussion of 'language beyond metaphor' and of 'primary and secondary apparition' in The Spirit of Romance (1910; London, 1952), pp. 158-9, mentioned again in a note by Pound to Fenollosa's Chinese Written Character (for ref. see below), p. 21n; and see also Stan Smith, Inviolable Voice; History and Twentieth-Century Poetry (Dublin, 1982), p. 116. High-grade up-to-date stupidity in response to this poem is exemplified in e.g. J.T. Barbarese, 'Ezra Pound's Imagist Aesthetics: Lustra to Mauberley', in The Columbia History of American Poetry, ed. Jay Parini (New York, 1993), pp. 306-10, which elegant discussion prints the poem as prose and, having observed that the first line was originally stopped with a colon, prints instead a full-stop (p. 307). For Pound's account of this poem's origin see Fortnightly Review (1 September, 1914), pp. 465, 467; his commentary is reprinted in K.K. Ruthven, A Guide to Ezra Pound's 'Personae' (1926) (Berkeley & Los Angeles, 1969), pp. 152-3. A slightly altered version appears in Pound's Gaudier Brzeska; A Memoir (London, 1916; reprinted, Hessle, Yorkshire, 1960), pp. 86-9: 'In a poem of this sort one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective' (p. 89). The full Fortnightly Review essay ('Vorticism') is reprinted in Zinnes, pp. 199-209. See also Sanehide Kodama, American Poetry and Japanese Culture (Hamden, Conn., 1984), pp. 59-62. Insofar as the Metro poem crystallises to an orientalising flower arrangement, compare Norman Bryson's comment: 'Still life's potential for isolating a purely aesthetic space is undoubtedly one of the factors which made the genre so central in the development of modernism' (Looking at the Overlooked; Four Essays on Still Life [London, 1990], p. 81). For critique of latent romantic sentiment here, compare William W. Bevis: 'The two lines are not true fragments; the hiatus contains an ineffable link; the equation is expressive' (Mind of Winter; Wallace Stevens, Meditation, and Literature [Pittsburg, 1988], p. 203)--and ponder also what would be the truth of a 'true' fragment. For some flip aftermath see Marjorie Perloff, 'Ataraxia in Vortex State', in her 21st-Century Modernism; The 'New' Poetics (Malden, Mass., 2002), 190-200."

Tuesday, 10 July 2007

From "The Day Thatcher Dies"

We will laugh
The day that Thatcher dies
Even though we know it's not right
We will dance and sing all night