Earlier this year I was sent my contributor’s copy of Catalyst 9 (subtitled “Export Quality”). It includes a CD of poetry recordings by local poets set to music by what producer Jody Lloyd calls “a collection of New Zealand musicians”:
For this production I asked dozens of musicians for sound donations in the form of musical samples – a chord, a series of chords, a solo, a bass line, a drum beat and where those were not available, an entire track: whatever they had and wanted to give. [11]
To tell you the truth, I’d almost forgotten about the recording session for this particular project. I remember being summoned to some far-off part of town what seems like ages ago to read out a few poems, and it came as a bit of a surprise to see which one they’d chosen (a rather odd collage poem called “Vampires”). The delay can hardly be blamed on the editors of this Christchurch-based indie magazine, though. As Doc Drumheller explains in his editorial:
Jed Birmingham’s library began with his William Burroughs collection. After he obtained all the books, he started to research and obtain any periodical that Burroughs contributed to, but quickly realized that the small press culture of the little magazines was just as interesting (if not more) than Burroughs’ contribution, and that’s how our little magazine, Mimeo Mimeo, got started. The poets, artists, printers, paper, collating parties, distribution, associations, manuscripts, postcards, and, letters are all part of the overall aesthetic and culture of the Mimeograph Revolution, brilliantly documented in Steve Clay and Rodney Phillips’s A Secret Location on the Lower East Side. There are few people who take the art of mimeo as seriously as Jed, whose attention to detail is more common amongst bibliophiles specializing in incunabula and antiquarian books. In addition to sharing his research, he also shares aspects of his collection and others online in the Bibliographic Bunker at Reality Studio. Check out the Floating Bear archive, for startes, which includes a free, downloadable spreadsheet mapping the recipients of Di Prima and Jones' legendary mimeo magazine.
Part of the "Hand Upon Hand" sculpture in Centennial Park, Sydney; poem by Adam Aitken
In her marvelous, odd textbook, The Writing Experiment: Strategies for Innovative Creative Writing, Hazel Smith devotes a late chapter to “Mapping worlds, moving cities.” Composing in a kind of sociological sublime, she writes in the subsection, “The diasporic city,” of the sub-section, “Cities rather than city,” “As the concept of the nation-state breaks down, people migrate and borders shift. The modern western city has become a mixture of nationalities and ethnicities: this has transformed food, clothing, customs, art and language” (260). Cutting to the chase, she ends her paragraph on “the diasporic city” with this pithy sentence: “The diasporic city is as much about displacement as about place” (261).
Lisa Samuels, one of the three co-organisers of the Short Takes on Long Poems symposium (with Robert Sullivan, mentioned in my previous post, and Michele Leggott, pictured above with her guide-dog Olive), writes in to specify that it was she who was responsible for the two words "begin anywhere" which started off our long, collective, ten-part beach poem the other day:
Nice to see your Jacket2 write-up, and that you used the 2 words I wrote at the beginning of our very very very very very very very very very very long beach poem – I'm sure I am pulling 'begin anywhere' from some co-making moment, and that too is par for the symposium. …
Which prompts me, in turn, to claim responsibility for inscribing the four words visible in the picture above, beside Michele and Olive, which were meant to be a quote from the last line of the title poem of Allen Curnow's 1982 collection You Will Know When You Get There:
Down you go alone, so late, into the surge-black fissure.
Experiments with sound
Earlier this year I was sent my contributor’s copy of Catalyst 9 (subtitled “Export Quality”). It includes a CD of poetry recordings by local poets set to music by what producer Jody Lloyd calls “a collection of New Zealand musicians”:
To tell you the truth, I’d almost forgotten about the recording session for this particular project. I remember being summoned to some far-off part of town what seems like ages ago to read out a few poems, and it came as a bit of a surprise to see which one they’d chosen (a rather odd collage poem called “Vampires”). The delay can hardly be blamed on the editors of this Christchurch-based indie magazine, though. As Doc Drumheller explains in his editorial:
Bibliographic bunker
Jed Birmingham’s library began with his William Burroughs collection. After he obtained all the books, he started to research and obtain any periodical that Burroughs contributed to, but quickly realized that the small press culture of the little magazines was just as interesting (if not more) than Burroughs’ contribution, and that’s how our little magazine, Mimeo Mimeo, got started. The poets, artists, printers, paper, collating parties, distribution, associations, manuscripts, postcards, and, letters are all part of the overall aesthetic and culture of the Mimeograph Revolution, brilliantly documented in Steve Clay and Rodney Phillips’s A Secret Location on the Lower East Side. There are few people who take the art of mimeo as seriously as Jed, whose attention to detail is more common amongst bibliophiles specializing in incunabula and antiquarian books. In addition to sharing his research, he also shares aspects of his collection and others online in the Bibliographic Bunker at Reality Studio. Check out the Floating Bear archive, for startes, which includes a free, downloadable spreadsheet mapping the recipients of Di Prima and Jones' legendary mimeo magazine.
Uncertain geographies: Caroline Sinavaiana & Hazel Smith in (imagined) conversation
In her marvelous, odd textbook, The Writing Experiment: Strategies for Innovative Creative Writing, Hazel Smith devotes a late chapter to “Mapping worlds, moving cities.” Composing in a kind of sociological sublime, she writes in the subsection, “The diasporic city,” of the sub-section, “Cities rather than city,” “As the concept of the nation-state breaks down, people migrate and borders shift. The modern western city has become a mixture of nationalities and ethnicities: this has transformed food, clothing, customs, art and language” (260). Cutting to the chase, she ends her paragraph on “the diasporic city” with this pithy sentence: “The diasporic city is as much about displacement as about place” (261).
Wild turning
Jill Moser's show of new painting opens on April 19 at Lennon, Weinberg in New York
The persistence of memory
More reactions to the Short Takes on Long Poems symposium
Lisa Samuels, one of the three co-organisers of the Short Takes on Long Poems symposium (with Robert Sullivan, mentioned in my previous post, and Michele Leggott, pictured above with her guide-dog Olive), writes in to specify that it was she who was responsible for the two words "begin anywhere" which started off our long, collective, ten-part beach poem the other day:
Which prompts me, in turn, to claim responsibility for inscribing the four words visible in the picture above, beside Michele and Olive, which were meant to be a quote from the last line of the title poem of Allen Curnow's 1982 collection You Will Know When You Get There: