Posts Tagged ‘Leslie Scalapino’
Attention Span 2011 | Astrid Lorange
Michael Farrell | thempark | Book Thug | 2010
thempark uses Ashbery’s Where Shall I Wander and Hotel Lautréamont as templates. Which is to say, the poems take Ashberian hairpin-bends and fill them with a million nanobots. Some are built from the data of top-40 jams and TV broadcasts, some are the gnats that asphyxiate inside a fruit salad tub, some are outtakes from a doco on Australian tea biscuits and birdsong.
John Paetsch | Hex Nihilo | bas-books | 2011
This is the future: Philadelphia is flanked by the Pacific Ocean, trees are data-sets, everything is smuggling everything else and speeding up a highway, aliens are radios like Spicer told us years ago. The future has two modes: prose so funny it pulls groins; sparse verse that empties guts.
J. Gordon Faylor | Sebaceous Heph | bas-books | 2010
This book has you right on the edge of getting a joke, limbered yet straining for relief, hands about to clap: you’re right there… And then, the syntax does a sneaky, rude little deviation and you’re suffering the immensely cruel pleasure of not-knowing. It’s perfect timing, perfect anti-comedy, and smart in a way that squeezes sebum everywhere.
Kieran Daly | PLAYS / FOR THEATRE | bas-books | 2011
This collection speaks to the performance(s) of: proposition, philosophy and non-philosophy, gift economy, chronic boredom, auto-didacticism, tinkering, naming. You have a window, carpet, access to light, you are in a performance, and it’s that perfect moment where you laugh because it’s truly funny to just be moving your elbow or fixing a pipe.
Chris Alexander | Panda | Truck | 2011
This book was composed collectively by anyone who’s ever described the panda from Kung Fu Panda. This book was curated perfectly by Chris Alexander, who shows the inexhaustible, partial, oriented, polemical, dedicational labour of description. This book is an Everybody’s Autobiography.
Leslie Scalapino | How Phenomena Appear to Unfold | Litmus | 2011
A brilliant collection of essays somewhere between poetics, criticism, event-theory and demonstration of an entirely alien grammar that does everything at once. Scalapino reads and writes into four dimensional cubelets, cubelets that construct truly new things for thinking.
Charles Bernstein | Attack of the Difficult Poems | Chicago | 2011
Queer pedagogies, queering pedagogies. This book is about professing, teaching, file-sharing and reading-as-writing, because of, and in spite of, all manner of constraint.
Kristen Gallagher | We Are Here | Truck | 2011
One has historically asked oneself: is light made of particles or waves? And the answer, these days, is generally: both! Like, when, you’re dreadfully lost and can’t find your way on a map, you both are and are not located, and you both are and are not moving meaningfully. In this book, you try to find a house, and find something a lot more interesting. As Stein would say, there is no there there! Thankfully!
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Astrid Lorange is a PhD candidate, poet, teacher, researcher, occasional band member and homebrewer from Sydney, Australia. Her books include Eating and Speaking, Minor Dogs and Pussy pussy pussy what what (Au lait day Au lait day).
Back to 2011 directory.
Attention Span 2011 | David Dowker
Will Alexander | Compression & Purity | City Lights | 2011
Caroline Bergvall | Meddle English | Nightboat | 2011
Michael Boughn | Cosmographia | BookThug | 2010
Clark Coolidge | This Time We Are Both | Ugly Duckling | 2010
Robert Duncan, ed. Michael Boughn and Victor Coleman | The H.D. Book | California | 2011
William Fuller | Hallucination | Flood | 2011
Carla Harryman & Lyn Hejinian | The Wide Road | Belladonna | 2011
Susan Howe | That This | New Directions | 2010
Alice Notley | Culture of One | Penguin | 2011
George Quasha | Verbal Paradise | Zasterle | 2010
Leslie Scalapino | The Dihedrons Gazelle-Dihedrals Zoom | Post-Apollo | 2010
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More David Dowker here.
Dowker’s Attention Span for 2010, 2009, 2008, 2007, 2006, 2005. Back to 2011 directory.
Attention Span 2011 | James Wagner
Cedar Sigo | Stranger In Town | City Lights | 2010
Elegant, whimsical. Checked humor. Clear attention to craft. A talented poet.
Christine Hume | Shot | Counterpath | 2010
Slowly building a surreal temple of exquisite disturbances. House Flies, Alaska, now the Night.
David Lespiau, trans. Keith Waldrop | Four Cut-ups, or The Case of the Restored Volume | Burning Deck | 2010
My mini-review here.
Leslie Scalapino | Floats Horse-Floats or Horse-Flows | Starcherone | 2010
High art: imaginative and political. Her understanding of Time-In-The-Sentence is what makes the stories go.
Lissa Wolsak | Squeezed Light—Selected Poems 1994-2005 | Station Hill | 2010
Sublime writing. My review.
Jena Osman | The Network | Fence | 2010
Atmospheric realism of uncanny stitching. Surgical.
Eléna Rivera | Remembrance Of Things Plastic | LRLE | 2010
Graceful, ghostly, poetic memoir.
Various authors, ed. Juliana Spahr and Stephanie Young | A Megaphone: Some Enactments, Some Numbers, and Some Essays about the Continued Usefulness of Crotchless-pants-and-a-machine-gun Feminism | Chain Links | 2011
My mini-review here.
Nada Gordon | Ululations blog | Blogspot/Google | 2011
The raw, vital poetry.
Alta Ifland | Voice of Ice | Les Figues | 2007
Crystalline, carefully laid, prose poems.
Stephen Ratcliffe | [assorted daily poems] | Facebook | 2010-11
Fugue of viewing / sensing / intellecting.
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James Wagner is the author of the chapbooks Query/Xombies and Geisttraum (Esther Press, 2010), the short-story collection Work Book (Nothing Moments, 2007), and three poetry collections: Trilce (Calamari Press, 2006), After the Giraffes (Blazevox, 2005), and the false sun recordings (3rd bed, 2003). Wagner’s Attention Span for 2010, 2009, 2008, 2007, 2006, 2005, 2004. Back to 2011 directory.
Attention Span 2011 | Leonard Schwartz
Raul Zurita, trans. William Rowe | Inri | Marick | 2009
This extraordinary Chilean poet is now more fully available to English language readers.
Raul Zurita, trans. Anna Deeny | Purgatory | California | 2010
Zurita’s poetry is both Orphic and politically powerful at once.
Maged Zaher | Portrait of the Poet As An Engineer | Pressed Wafer | 2009
The contemporary writer the furthest inside and the most outside the English language as we know it….
Gustaf Sobin | Collected Poems | Talisman | 2010
This book brings a life-work together… “A national treasure,” just as Rain Taxi wrote.
Robert Duncan | The H.D. Book | California | 2011
Finally!
Evie Shockley | The New Black | Wesleyan | 2011
These poems prove that poetry can think.
Brenda Iijima, ed. | (Eco (Lang) (Uage (Reader)) | Portable Press at Yo-Yo Labs / Nightboat | 2010
This anthology is crucial reading for those seeking out a more complicated relationship to “nature” than “nature poetry” would otherwise offer.
Jonathon Stalling | Grotto Heaven | Chax | 2010
A poetry that works its way into the space between the languages English and Chinese as no one has been able to manage before….
Susan Gevirtz | Aeordome Orion & Starry Messanger | Kelsey Street | 2010
Technique sharpens the imagination into a new relationship to the sky, which is and is not a limit.
John Taggart | Is Music | Copper Canyon | 2010
Taggart’s Selected allows us to listen to this poetry deeply. Does anyone have a better ear than John Taggart?
Kiki Smith and Leslie Scalapino | The Animal Is In The World Like Water In Water | Granary
This exquisitely produced book, a collaboration between artist Smith and poet Scalapino, shocks and delights. Smith’s drawings and Scalapino’s poems from the book are reproduced in part in How Phenomena Appear to Unfold, 2011, from Litmus Press—but the Granary ultra-suede edition is very special and gets you the whole work.
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Leonard Schwartz’s latest book will be At Element, forthcoming in November 2011 from Talisman House. Schwartz’s Attention Span for 2009, 2006. Back to 2011 directory.
Attention Span 2010 – Jennifer Scappettone
Leslie Scalapino | The Dihedrons Gazelle Dihedrals Zoom | ms developed out of sound-based routes through a new dictionary; video of reading by Konrad Steiner available here | 2010
“[T]heir whole as bodies in the underground petroleum…holes spurting here and there, and the sky turned indigo, as did the ocean, now petroleum.”
As recorded on 2/14/10. Enough said. Leslie, we miss you.
Etel Adnan | The Arab Apocalypse (reprinted with a foreword by Jalal Toufic) | Post-Apollo | 2007
The illegible substance of the language of childhood persists through the blasts of civil war. To be read alongside “To Write in a Foreign Language,” available here.
Tonya Foster | mss in progress including “A Swarm of Bees in High Court” (forthcoming from Belladonna/Futurepoem in 2010), “Monkey Talk,” and “A Mathematics of Chaos: Pay Attention to Where You At/From” | extracts can be heard here | ongoing/forthcoming
“Geography can be transformative—the way a bullet to the body can be transformed.”
Edouard Glissant, trans. Nathalie Stephens (Nathanaël) | Poetic Intention | Nightboat | 2010
“Whence, for the individual, this simple obligation: to open and to ravish the body of knowledge.”
“The work of a poet appears…derisory: it is only ever the foam of that ocean from which he wants to extract a cathedral, a definite architecture.”
“Yes: we are each in this drama the overseas of others.”
I could go on. But that would be to abstract tracts of a text so urgent in contextual detail, or what Glissant calls (& Stephens translates as) the “thrashed truth of one’s materiality.” This book, published as L’intention poétique in 1969, needs to change the way “we” understand modernism, the sixties, postwar theory, etc.
Bhanu Kapil | Humanimal: A Project for Future Children | Kelsey St. | 2009
Because it’s the latest which is bound, but everything, and latest on color. See also “Was Jack Kerouac a Punjabi?” and the posts preceding her choice to defect from the now defunct Harriet. On reading: “I read in order to be a writer in the time I am in, which is a closed time. I read to open myself to time, which is the time that opens in turn to writing. I read to flee taut death; to embrace wet or sinking deaths instead.”
Henri Meschonnic, trans. Lisa Robertson & Avra Spector | “The Rhythm Manifesto” | ms, they tell me it’s available here | 2010
“Against all poeticizations, I say there is a poem only if a shape of life transforms a shape of language and if reciprocally a shape of language transforms a shape of life. I say that it is only in this way that poetry, as the activity of poems, can live in society, can do what only a poem can do for people who, without poems, wouldn’t even realize that they were undoing their subjectivity and their historicity to become nothing other than products in the market of ideas, the market of feelings, and the market of manners.” Much-needed antidote to what’s modish—in poetry, I mean. Feeding a steadily-becoming-obsession of mine with a focus on rhythm and meter in the postwar epos (early 1960s, against semiotics). Further resonance with Daria Fain & Robert Kocik’s Phoneme Choir, ongoing & described at http://www.brooklynrail.org/2009/04/dance/choir-praxis.
Judd Morrissey | RC_AI | http://www.judisdaid.com/rcai.php | 2010
Text—recombinatory speakings out of Robert Coover’s Pinocchio in Venice—as panorama, 380,000 pixels—or 422 feet—long. Ends with bubbly digital schmaltz, delightsome.
Pier Paolo Pasolini | La Ricotta | part of Ro.Go.Pa.G., & supplementary material on Criterion Collection edition of Mamma Roma | 1962
I searched for this film for over a decade and recovered it accidentally when permitting myself to watch Mamma Roma for the nth time. Stracci (“rags”) is enjoined to play Christ in a restaging of the Passion directed by a Pasolini figure played by Orson Welles. Couldn’t be more of a corrective to Gibson far before the fact; censored “for insulting the religion of the state,” so that he had to remove Welles’s final line, “dropping dead was his only means of revolution.” Hypercitational: poetry, philosophy, music, film, painting of others punctures the half-hour. At one point a tableau vivant of Rosso Fiorentino’s and Pontormo’s magisterially weird Depositions, typifying this short’s neorealist mannerism or mannerist neorealism.
M. Nourbese Philip | Zong! | Wesleyan | 2008
Hauntological, as Philip notes, ululating effort to identify, localize the murdered Africans reduced by the illogic of law to cargo aboard the Zong, at the apex of Enlightenment. Alters “reading”: drowns the eye. Taught following Kamau Brathwaite’s 2005 Wesleyan title Born to Slow Horses, which also insists that the Atlantic is alive and history—despite all other proclamations and appearances—undead.
Lauren Shufran | The Birds | self-published chapbook | 2010
Riddled with antient rid-’ems: “Prior to this tryst my debt was pretty damn van- / Illa; kinkless, even—like interject- / Ing damns between my speech to impound flavors, or / Jouncing into fountains up in Rome in / Simplex Latin:.…” Just received, still trying to divine the architectonics of this padded echo chamber. “Ery spoken word performance hankers for its pri- / Vate Melos to corroborate that Venuses / De Milo and Baghdadi artifacts can still / Be looted—I mean, disinhumed—from loci all / Entombed by massacres your gifted homeboys mount- / Ed.” Close kin to Brandon Brown’s amazing translations of Catullus, another one for my short-list: but where are they? Shelves are a chaos and I can’t find ‘em. The awkward encrustations of tempo in this work—the making, the deriving—rebuke the voiding of historicity that is such the rage at present. Taking a cue from Mallarmé via Meschonnic via Robertson/Spector: “to mysteriously work toward lateness or neverness.”
Emilio Villa, ed. Claudio Parmiggiani | Emilio Villa: poeta e scrittore | Edizioni Mazzotta | 2008
Catalog of a retrospective of poetry, criticism, and artworks surrounding this crucial but elusive-by-choice border-crosser. Includes some of the poet’s concrete and visual poems, multilingual texts, collaborations with artists such as Alberto Burri, translations from various ancients, and notes toward an etymological dictionary of Italian that would do away with “positivist linguistics” and the “Romance fervor” by plumbing the roots of words in the archaic zones of Mesopotamia, the Syro-Babylonian coasts, and the pre- and protohistoric Mediterranean. So much food for thought and further work.
More Jennifer Scappettone here. Her Attention Span for 2009, 2008, 2007, 2006, 2005, 2004, 2003. Back to directory.
Attention Span 2010 – David Dowker
Will Alexander | The Sri Lankan Loxodrome | New Directions | 2009
Laynie Browne | The Desires of Letters | Counterpath | 2010
Mark Goldstein | Tracelanguage | BookThug | 2010
Karen Mac Cormack | Tale Light | BookThug / West House | 2010
Camille Martin | Sonnets | Shearsman | 2010
Steve McCaffery | Verse and Worse | Wilfrid Laurier University | 2010
Laura Moriarty | A Tonalist | Nightboat | 2010
Alice Notley | Reason and Other Women | Chax | 2010
Lisa Robertson | R’s Boat | California | 2010
Leslie Scalapino | Floats Horse-Floats or Horse-Flows | Starcherone | 2010
Lissa Wolsak | Squeezed Light | Station Hill | 2010
More David Dowker here. His Attention Span for 2009, 2008, 2007, 2006, 2005. Back to directory.
Attention Span 2010 – Andrew Schelling
Sherwin Bitsui | Flood Song | Copper Canyon | 2010
For anyone who identifies with the land of the American West—all that good Western dust lightly held on our altoplano—this book will sit in your hands as a familiar. Yet buried in all that familiarity coil the edges of violence, abrupt encounters with spirit-world, wild-life, thunder, flash floods. Something close to surrealist imagery occurs here—but not the surrealism of old Europe’s super-charge dream-state. Here it erupts in fragmented visions of deserts, buttes, asphalt baked cities, ravens, long sun-blistered highways. If I read the book rightly, this is the account of an archaic singer’s vision of present day Navajo life. Bitsui’s ear is terrific, and just enough Navajo words occur to send the conscientious reader to a Diné lexicon.
Leslie Scalapino | Day Ocean State of Stars’ Night | Green Integer | 2007
Sometimes I feel alone in my generation, in how much I read Leslie Scalapino’s poetry. Maybe I can’t separate out her writing from the generosity she showed so many of us younger writers and friends over the decades, publishing work in O Books, meticulously responding to letters—hers a dark shy generosity. We will miss her. Of the many titles of Leslie’s on my shelf, I’ll select this as it contains “It’s go in quiet illumined grassland,” one of her most incantatory Buddhist-inflected poems, and the haunting Gulf War Noh play “Can’t is Night.” In fact this fall I will use “Can’t is Night” alongside some Fenellosa-Pound Noh plays with my Naropa kids—we’ll act them out at the local Buddha hall Zen center yurt.
Joanne Kyger | About Now: Collected Poems | NPF | 2007
This is how books used to be made. Bring together a fine poet, pair her with one of the subtlest book designers out there, and construct a book that weighs in your hands like an artifact meant to serve you a whole lifetime. Joanne Kyger’s work: humor, concision, ecological savvy, political alertness, the tempered eye of the naturalist. So many small press titles that run through the years, helping us all ‘live lightly on the earth’; finally collected here, each poem laid with a comparable lightness on the page by JB Bryan.
Paul Moss, edited, translated by Andrew Cowell & Alonzo Moss, Sr. | Hinóno’éínoo3ítoono: Arapaho Historical Traditions | U of Manitoba P | 2005
What good tales, of the recent historical past, occurring in the region given the Arapaho by the Treaty of Fort Laramie (1851): between the Platte and the Arkansas Rivers, from the Continental Divide into Kansas. Not old-time myths, but events that happened in somebody’s memory. Captivity tales, visions, coyote helpers, the Medicine Wheel. Bi-lingual, with a good account of Arapaho grammar, and a careful glossary of notable words. The translators’ use of Arapaho narrative devices to discern line-break and stanza makes this a contribution to Ethnopoetic practice.
Robert Bringhurst | A Story Sharp as a Knife: The Classical Haida Mythtellers and Their World | Nebraska | 1999
Most exciting book I read last year. Even my first and second year college students couldn’t put down the volume, which weighs in at 527 pages. The fullest account of the Boasian project in “salvage ethnography,” with a cast of characters a novelist couldn’t invent. Also a detailed, and not at all abstract look at oral literature. Accounts of how the singers proceed, how they reshape tradition to deal with smallpox, rip-offs, hunger, even anthropologists with pencils. Bringhurst knows his languages, knows natural history, the twists & turns of ethnography. Even the footnotes ring with discovery.
Diane Glancy | The Cold and Hunger Dance | Nebraska | 1998
A haunted book. Most of its pieces sit on the edge between essay, poetry, translation, and memoir. It looks easy but I bet it’s not. There’s a whiff of sage and other herbs, bitter, medicinal, sweet, nauseating—between Sun Dance and Bible, Cherokee heritage, Christian faith. Lots and lots of driving by night thunderstorm across the Great Plains.
Thomas A Clark | of Woods & Water | Moschatel | 2008
Good to remember how poetry’s power also comes from the unspectacular, the subtle, the brief rhythms, the filtered sunlight through soft leaves. Green solace in a technology-mad world. Poems so light it seems the poet’s hand scarcely perturbs language at all.
Jerome Rothenberg | Poetics & Polemics 1980-2005 | Alabama | 2008
The talks here—especially those on Ethnopoetics, poetry & the sacred, and so forth—remind me why so many of us set out on this troubled, wonderful path in the first place.
Dale Pendell | Walking with Nobby: Conversations with Norman O. Brown | Mercury House | 2008
Five conversations with Norman O. Brown. Each in the form of a walk—which Pendell took with Nobby in those last years before Brown’s Alzheimer’s silenced him. For those of us who cut our teeth on Love’s Body’s subtle, visionary politics, its aphoristic wildness, and its dance at the edge of poetics, here is the late book he never got around to writing. I knew Brown, and these reconstructed conversations provide the cadences of his speech, plus his greatest trait: never to settle for easy ways out, no matter how painful clear seeing might be. Pendell wrote these talks up afterwards from memory, they are not the result of tape recording. How did he do it?
Salim Ali | Indian Hill Birds | Oxford | 1949
Tiny volume, maybe the best writing I’ve encountered in a field guide. Salim Ali (1896-1987) was the doyen of ornithology in India. A terrifically literary man, an exemplar of the India that emerged after Independence under the guidance of Nehru: resolutely secular, democratic, confident in both art and science, proud of its culture, far away from North America. Of Salim Ali’s many field guides for birds, his natural history essays, and the autobiographical writings, I choose this title because of its concision, its sumptuous illustrations by G.M. Henry, and the precise use of terminology. Of the common myna he writes: “The nest is a collection of twigs, roots, paper and miscellaneous rubbish placed in holes in trees. Large nesting colonies occupy weep-holes in revetments alongside the hill roads in the Himalaya….”
Ron Silliman | The Alphabet | Alabama | 2008
Rather daunting to have this enormous TOME, but all those separate books on the shelf don’t get you the full poem. It’s the architecture of the sections that intrigues me at present, a lot like the attention to architecture you find through Pound’s CANTOS. And the cumulative emotion that develops within each section, sentence heaped on sentence. Many of the individual volumes have such independent spirit—Paradise, What, ABC, and so on. Now you can see how the various sections fit into the larger whole (itself part of a yet larger whole)…. I hope I finish reading this before UNIVERSE appears.
Attention Span 2010 – Patrick Pritchett
Julie Carr | Sarah—Of Fragments and Lines | Coffee House
Beyond beautiful—a hymn of sorrow and joy and Carr’s most intimate and powerful work yet—deeply touching, and miraculously alive in its invention.
James Belflower | Commuter | Instance
The severe angularity and audacity of postmodernity. Now, would somebody please publish “Friends of Mies van der Rohe” already?
Norma Cole | Where Shadows Will | City Lights
Norma Cole’s work is continually alert to the tiniest nuances and to the possibility for the vastness of inside that moment. The actual turns of thought, a deep thinking into language as event and the world as it seen and felt and registered continually. Objects are not merely named, but multiply-mediated. What calls our attention is seeing: and seeing into and through language. The poem never a comment, but an invitation to become enmeshed with its event; neither reductive nor overpowering, but alive to complexity.
Anne Carson | NOX | New Directions
Elegy as etymology, as colportage. But is the whole less than the sum of its scattered parts?
Ingeborg Bachman, trans. Peter Filkins | Songs in Flight | Marsilio
So I gather the salt
when the sea overcomes us,
and turn back
and lay it on the threshold
and step into the house.
We share bread with the rain;
bread, debt, and a house.
Leslie Scalapino | Considering How Exaggerated Music Is | North Point
What would you glean
mean
the long go-away-from-it plan
at hazard, sheer glass over
water
and the eking out
of syllables
ten cents-a-dozen
no rhymes
///
It would be occasion, return of the others from their something not right
I know, I could see them, moving down the aisle, that there should be
this music
This was the time when the dying brought in their wounded
///
The stippled
branch
of light
tips forward
ghosted
with pollen
and the promises of dust
stare back at us
give evidence of our having lived
the wrong questions
right
Ken Irby | The Intent On | North Atlantic
And for the dreaming, the endless
mode of occurring
as it is, as it could be, as the sleepers
keep murmuring —
for what it means
to stay alive, attuned, a moment
to this otherwise
& the sought-for, disappearing.
Of pure possibility/of the nothing
that may save it
shed of symbol, it staves off
the blighted, and so we go – into night
the blessed, the earthly
what leaks into & wrecks us
is always
never and more singular than loss
across song’s fields, folded. Inside its portals
the old book beckons and we bend
surmised of sorrow, to its rising, it turning.
What dies &
what inherits? What dissipates
and what is remnant?
If the wind is not/if the wind is here and –
its inconstancy, its minglings, its slips of
substance into light and
into beginning
for beginning is always.
Begin again.
More Patrick Pritchett here and here. His Attention Span for 2009, 2008. Back to directory.
Attention Span – Marie Buck
Helen Adam, ed. Kristin Prevallet | A Helen Adam Reader | National Poetry Foundation | 2007
Jules Boykoff | The Slow Motion Underneath | The Dusie Kollektiv | 2007
If you can’t buy a hardcopy, you can download Boykoff’s poems here.
Martha Dandridge Custis, Lawrence Giffin, eds. | Comment is Free, Vol. 1: Participatory Politics for a New Age | Lil’ Norton | 2008
Jean Day | Odes & Otium | Adventures in Poetry | 2006
Johanna Drucker | Night Crawlers on the Web | Granary | 2001
Mina Loy, ed. Roger L. Conover | The last lunar Baedeker | Jargon Society | 1982
Make sure to get the 1982 edition, not the more recent (which has the same editor and is titled nearly the same thing). The 1982 edition is considerably bigger, for one. (You may need to go to a really good library to find it.)
K. Silem Mohammad | Breathalyzer | Edge | 2008
Gabriel Pomerand, trans. Michael Kasper and Bhamati Viswanathan | Saint Ghetto of the Loans: Grimoire | Ugly Duckling | 2006
Leslie Scalapino | That They Were at the Beach—Aelotropic Series | North Point | 1985
Rod Smith | Deed | Iowa | 2007
Hannah Weiner, ed. Patrick F. Durgin | Hannah Weiner’s Open House | Kenning | 2006
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More Marie Buck here.
Third Factory/Notes to Poetry 
Attention Span 2011 | Kieran Daly
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J. Gordon Faylor | Comments on MGR | self-published | 2010
J. Gordon Faylor | Docking Rust Archon | unpublished manuscript | 2011
Belonging, sharing, having, dying—instant microdeath as character development—, … distribution? Searched (though not ‘for’).
Lanny Jordan Jackson | Dear Swimmer | unpublished manuscript | 2011
F SITE.
Leslie Scalapino | R-hu | Atelos | 2000
Maybe Scalapino’s most radically structured work? Single spacing, double spacing, font size; unilaterally ‘as’ the same line/-break(?). Honorable mention: Floats Horse-Floats or Horse-Flows & The Dihedrons Gazelle-Dihedrals Zoom.
Eddie Hopely | Cannot Contract | self-published | 2010
Scene hair.
Astrid Lorange | Pussy Pussy Pussy What What | Gauss PDF | 2011
Astrid Lorange | Eating and Speaking | Tea Party Republicans | 2011
Objects objects Objects objects objects objects Objects objects.
Jarrod Fowler | http://jarrodfowler.org/idioticon.html | ongoing
Axiomatics of a non-musicological [theoretical?] antipraxis.
John Paetsch | Crista’s Severance Package xxx | Gauss PDF | 2011
John Paetsch | //only after she mirrored flipt/scripts back into amazing secrets channel did the whole fucking thing become mine// | Gauss PDF | 2011
[Critique of] Poetry unrecognizable to poetics. Crista got laid off and still got paid.
Vanessa Place | Die Dichtkunst | oodpress | 2011
Vanessa Place | black square | oodpress | 2011
The end of rational ‘Conceptual Poetry’.
François Laruelle | The Concept of Non-Photography | Urbanomic/Sequence | 2011
François Laruelle | Dictionary of Non-Philosophy | [unoffical English translation] | 1998
A JUDGMENT OF TASTE EXERCISED NOT SO MUCH BY A ‘SUBJECT’ AS BY THE WORLD ITSELF, THE TRUE AGENT OF A UNIVERSAL FRACTAL PLAY.
Craig Dworkin | The Perverse Library | Information as Material | 2010
Non-conceptual appropriation via architecture, olfaction, and mold?
Chris Sylvester | THE REPUBLIC BY CHRIS SYLVESTER | Troll Thread | 2011
The entire game froze, which was already the playing of the game? Ask the mayor (‘his’ syntax).
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Kieran Daly writes and has published books and other media. Some work and contact information may be found at http://karibaily.tumblr.com.
Back to 2011 directory.
Written by Steve Evans
October 20, 2011 at 6:26 pm
Posted in Attention Span 2011, Commented List
Tagged with Astrid Lorange, Chris Sylvester, Craig Dworkin, Eddie Hopely, François Laruelle, J. Gordon Faylor, Jarrod Fowler, John Paetsch, Kieran Daly, Lanny Jordan Jackson, Leslie Scalapino, Vanessa Place