Third Factory/Notes to Poetry

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Posts Tagged ‘Leslie Scalapino

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J. Gordon Faylor | Docking Rust Archon | unpublished manuscript | 2011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 Lanny Jordan Jackson | Dear Swimmer | unpublished manuscript | 2011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.

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Attention Span 2011 | Astrid Lorange

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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).

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Attention Span 2011 | David Dowker

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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 201020092008200720062005. Back to 2011 directory.

Attention Span 2011 | James Wagner

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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, 200920082007200620052004. Back to 2011 directory.

Attention Span 2011 | Leonard Schwartz

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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

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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

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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.