Julia Drescher read this fantastic piece on Jack Spicer's "Billy the Kid" during the Compline/Cuneiform/Further Other Book Works/Textile Series reading at AWP. I'm very pleased to share it here, and I hope this signals a much larger project to come!
05 March 2014
Brent Cunningham organized a reading of translations for AWP and gave a stirring performance of Rimbaud's "Soleil et Chair," which he translates here as "Sunlight on a Chair." He was sure to mention that he doesn't actually speak French, claiming that he would like to produce a text that would simply "look right" next to the original. After a totally engaging and super funny performance, he said something like "or at least I think that's what it says"! At first I thought he was joking, but I think "Sunlight on a Chair" is more often translated as "Sun and Flesh"! Either way, I'm sure Brent's translation is pretty close! Enjoy...
28 February 2014
26 February 2014
Folks are probably totally sick of hearing about AWP already (and it's only just beginning)! That said, if you happen to be in or around Seattle this weekend, come say hello at one of the following events:
Leslie Scalapino Tribute Panel
Alicia Cohen, Michael Cross, Judith Goldman, Carla Harryman and Maryrose Larkin
Thursday, Feb. 27, 3-4 pm
Washington State Convention Center
Compline/Cuneiform/Further Other Book Works/Textile Series reading
Charles Alexander, Sarah Campbell, Michael Cross, Julia Drescher, Paul Klinger, CJ Martin,
and Eleni Stecopoulos
(following a pretty stellar translation lineup from 4-5: see poster above)
Thursday, Feb. 27, 5-6 pm
Seattle Hilton, "Makani Room"
1301 6th Ave.
Compline/Cuneiform/Further Other Book Works/Textile Series at the Book Fair
You can find us at tables K-19 and K-20. PS: I'm giving away a ton of stuff!
25 February 2014
Thom Donovan and I are pleased to announce four new articles in ON's PDF Archive series. Don't sleep: these are killer contributions to the project.
Here's the lineup:
David Buuck's Converted Storefront: A Performance for cris cheek
Stephen Collis's Poetry in Protest
Elisabeth Workman's Fakefurcraft Versus Statecraft: Towards a Bardo Poetics
Jeanine Webb's "Weak Intimacy," Celebrity and Bay Area Poetics
And if you missed the last round, check out this constellation:
Dodie Bellamy's The Feraltern
Andrew Durbin's "The Only Way I Know U Is From a Screen": on Justin Bieber's Beauty and a Beat
Norma Cole's "A Formal Type of Work": Rereading Emmanuel Hocquard
Andy Martrich's Deaccessioning the Mansionstream: on brnt ghst vlnt
Brett Price's The New York School: on Naming
19 February 2014
If you happen to be in Seattle for AWP this year, maybe we'll have a chance to see each other? This is my first (and probably last!) time attending, so I'm trying to get a lifetime of AWP activities into a single weekend (which is the M.O., I guess!):
- I'm giving a talk on the work of Leslie Scalapino for a tribute panel including contributions from Alicia Cohen, Carla Harryman, Judith Goldman, and Maryrose Larkin, probably on Leslie's use of the image and her interest in hand-drawn African movie posters. The event takes place on Thursday, Feb. 27 from 3-4 pm in Room 606 of the Washington State Convention Center.
- Compline will "table" at the book fair with some of our favorite presses: Kyle Schlesinger's Cuneiform, Julia Drescher and C.J. Martin's Further Other Book Works, and Dawn Pendergast's LRL Textile Series. We're located at K19 + K20 if you're wandering around. I'll probably give away goodies for folks who stop by and show some love, along with (maybe)some new postcards for your refrigerator!
- Finally, I'm participating in a pretty great off-site reading (one of, like, a million!) sponsored by our friends at Small Press Distribution. Anna Moschovakis, Alan Bernheimer, John Sakkis, Jen Hofer, Ji Yoon Lee and Brent Cunningham will share recent translations during the first hour, and a roster of readers from Compline, Cuneiform, FOBW, and the Textile Series will hold it down during the second. Scheduled readers include Charles Alexander, Sarah Campbell, myself, Julia Drescher, Paul Klinger, C.J. Martin, and Eleni Stecopoulos. The event takes place on Thursday, Feb. 27 from 4-6 pm in the "Makani Room" at the Seattle Hilton (1301 6th Ave.). I know there's tons to do (like 4 distinct off-site readings every hour) and the icky promotional machinery / smarminess of the conference makes me a bit nauseous, but this one should be super low-key: friends reading poems to friends. We hope you'll stop by and be our friend!
11 February 2014
10 February 2014
MADE IN A FACILITY THAT PROCESSES SPILT MILK
“I had an idea to write a book that would translate the detail of thought from a day to language like a dream transformed to read as it does, everything, a book that would end before it started in time to prove the day like the dream has everything in it.” – Bernadette Mayer
“alone in the dream’s dressing room trying on / different styles” “to be conversant with the actual view” “we’re standing directly in the dream’s line of fire” “like all songs’ versions of all loss of love” “Or thirty-four soon my life is at least half over”— I’m thirty, I read Midwinter Day again, an annual tradition, this time it’s in a little tin roofed shack in a high desert ghost town east of Los Angeles. What remains? junk shop, general store, Catholic Church, City Jail, and saloon. At the junk store I buy a disc of some blue rock gem and on a fake gold chain a block of tiger’s eye which now rests as I write upon my breastbone. I’m in the dressing room trying on the outfit of someone who believes in charms. I know what I know which is not a lot but my body my body, sometimes it’s too open and I wind up diseased and emotional on a tossed bed, other times I intuit a coming scar and hole up where nothing can catch me. It’s the end of December, the end of the year in which I learn my love must be a kind of blind love, that alterity is (duh) always already, despite appearances, despite promises, despite love. I can hear hills and the occasional wheeze of an ORV engine, is it a calming or eerie silence. How will I ever retreat to the country if I don’t know how to feel about its sounds. So much quiet I could begin to think the only axiom’s lived expression in daily action. The trees seep with what I think are quail and the dry basin’s tufa spires are monuments we climb. Many stars and one’s perpetually shooting. I pay someone to tell me I have a habit of working hard at love. Am I brave enough to earnestly relate my dreams? Or the towns erected in their stead? Call the spirits from their dens. Johnny hearts Jasmine is etched into the blue formica, marking the rolling bolder of any freely given love. The sun will cling to those hills a few hours longer then the hidden suns will reveal their ripe mugs, a shining means of one foot follows the next and trust in breath made flesh. I’ll stand knee deep in it, a porous vehicle of despair slash hope that I might through some miracle or dumb luck never bow to those who say care’s for crows. I carry these limbs around get so attached to any ripe kindness or opening gift I break when it frays. Should I be more or less circumspect as we lean into the coming disasters. Hand in hand in the enrapt night. Together in the same trough. I’m rooting for the pirates. “If we’re all wrong about everything, the life so short and the craft so long to learn, the assay so hard, so sharp the conquering, the dreadful joy that passes so quick and then being left alone again, what I mean is love astonishes my feeling with its wonderful working so ardently so painfully so that when I’m thinking about such certainty I don’t know like the earth if I’m floating or sinking.”
All kinds of good things happening in celebration of Small Press Traffic's 40th anniversary! Check out workshops, events, etc. here...
Also, it's worth mentioning that Station Hill is trying to raise money to reprint Mayer's first books. Check out this video and support the cause if you can: