Wednesday, January 18, 2017

Re-examing poetry

I realize that a lot of the figurative in poetry can also be in the context of how something is written. Maybe I should introduce this broader range of things--how prose poetry can work.

The figurative could be the public and the private are the same.

Also, the private writing vs. the public. We are taught that we can't read a poem as if it is from the personal experience of the writer. However, I have heard the most horrid attacks in the guise of poetry. Poetry is a higher form of ethics.

The figurative is in the context. The reader also creates the meaning behind a poem.

Share what happened with the Conceptualists.

Conceptual poetry is different than Conceptualism.

We will take each poem on its own terms, while understanding poetry is a personal art form and honor that. Can a poem be too personal, but still accept that poem as a poem and make comments without the "you"?

The workshop example will show the difference between constructive criticism and negative criticism. No markthroughs.

Sunday, January 15, 2017

Movies and Poetry

Monday, November 28, 2016

for December ritual in poetry writing

Getting ready to write: December provides an end to the year, a time of resolutions and beginnings. It is actually a countup from 1 to 31. Make a list of things that show radical love. These are things you do or hope to do, a list of things to do.

I want December to not be a countdown to doom, but a countup to radical love, unity, and resistance. I am writing a poem a day to accomplish preparedness and to align myself with you. Are you with me? Develop your ritual for writing. Let's do this!

Sit down with:
facebook posts
an article from the day as political situation
a good memory
someone beloved in mind
dreams collective and individual
a book of poems
the imagination

(some of this list is borrowed from Sandra Simonds's facebook post)

Wednesday, September 28, 2016

New bookstore in Emporia

Ellen Plumb's City Bookstore
1101 Commercial
Emporia, KS 66801
620-208-BOOK (2665)

from Litmus Press Writing (US)Americ(k)a(s)

I wish I had a private plane to fly to these readings in!

From Litmus Press:

The country is a fiction, a narrative of legalese, piety, and slaughter.
The country is a positioning, its geographic bounty.
The country is a fingering of continents, a cordillera stitching the western expanse.
The country is the slip of skin on which we write ourselves: the warriors and the wounded, the chained and transported, the subsequent generations of, those who cling to its mythos as if a snail.
—Aja Couchois Duncan
Dear Friends,

We hope you can join us this weekend in celebrating the recent release of Aja Couchois Duncan's Restless Continent, as part of Duncan's cross-country reading series, Writing (US)Americ(k)a(s).

Duncan will be joined in conversation by Youmna Chlala, Maryam Parhizkar, and Simone White in a series of three east coast events devoted to the question of what it means to write (US)Americ(k)a(s). They will discuss ideas of mapping terrain, disembodying language, connecting with ghosts, and constructing alternative ethnography.

Friday, September 30, 8pm: Reading and talk as part of the Poetics Plus Reading series at SUNY-Buffalo. Full details here.

Sunday, October 2, 5:30pm: Book release celebration at Berl's Poetry Shop in Brooklyn, NY with readings by Youmna Chlala (The Paper Camera, Litmus 2017) and Maryam Parhizkar. RSVP on Facebook.

Monday, October 3, 7pm: Reading and discussion with Simone White presented by the Race & Innovative Poetics Working Group at Yale University, moderated by Maryam Parhizkar and Camille Owens. RSVP on Facebook.

Restless Continent communes with a North America that speaks elegiac, celebratory, and melancholic histories human and geological. In this collection, the body of that land and those histories fuse with the body of Duncan’s languagethe body of memory, and the physical body. Intertwining English with Ojibwe, this debut full-length collection of poems ominously holds us in its ethereal sound, bearing sharp witness to the ruptures perpetuated by the violences of humanity—bodies and lands colonizing and colonized, naming and othering, stamping life into disappearance.

"When the earth is mined of all her treasures, the land will be barren. But the sky will be crowded with bodies. When the limp appendages slap against one another, there is a second sound, less percussive. It is her, raptor, this cry."
from Restless Continent

Aja Couchois Duncan is a Bay Area educator, writer and coach of Ojibwe, French and Scottish descent. Her writing has been anthologized in Biting the Error: Writers Explore Narrative (Coach House Press), Bay Poetics (Faux Press), and Love Shook My Heart 2 (Alyson Press). Her most recent chapbook, "Nomenclature, Miigaadiwin, a Forked Tongue" was published by CC Marimbo press. A fictional writer of non-fiction, she has published essays in the North American Review and Chain. In 2005, she was a recipient of the Marin Arts Council Award Grant for Literary Arts, and, in 2013, she received a James D. Phelan Literary Award. She holds an MFA from San Francisco State University and a variety of other degrees to certify her as human.

Youmna Chlala is a writer and an artist born in Beirut & currently based in New York. Her work investigates the relationship between fate and architecture through drawing, video and performance, prose and poetry. She is the Founding Editor of Eleven Eleven {1111} Journal of Literature and Art and the recipient of a Joseph Henry Jackson Award. Her writing appears in Urban Hopes by Steven Holl and in publications such as Guernica, Bespoke, CURA, MIT Journal for Middle Eastern Studies, and XCP: Journal of Cross Cultural Poetics. She is an Associate Professor in the Humanities & Media Studies Department at the Pratt Institute.

Maryam Ivette Parhizkar is a writer, musician, and scholar interested in sound, resonance, migration, family myths, and finding ways to use them to work through the constraints of the English language. She is the author of two chapbooks: Pull: a ballad (The Operating System, 2014) and As For the Future (Portable Press at Yo-Yo Labs, 2016). Recent work can also be found online in The Recluse, Gesture, the The Brooklyn Rail, and Essay Press's chapbook Labor Poetic Labor! She is part of the editorial collective of Litmus Press and a PhD student in African American Studies and American Studies at Yale University.

Simone White is the author of Of Being Dispersed (Futurepoem), Unrest (Ugly Duckling Presse), and House Envy of All the World (Factory School). She is a mother, Program Director at The Poetry Project and currently Visiting Assistant Professor of Literary Studies at The New School. She lives in Bedford-Stuyvesant, Brooklyn.

Tuesday, September 27, 2016

Visiting Writer

I am looking forward to these:

Handling Visiting Writers

My understanding:  claim voucher to Karen S- with address and social security number—she knows that drill.  Same with the Speaking of Kansas fee, $100 for class visit, but only if visitor has a Kansas connection, through birth, education, subject matter, etc.  Library:  Lori Rognlie and Sean Bird usually reserve space, and I still like the 4:00 time.  For book sales, Nikki D- at Ichabod Shop.