in the making since

Practically: Here Comes Everybody

2005-09-05T07:11:00.000-07:00

The link above is one of the more vigorous, practical, and useful pages on the web for QUICK reference to relief agencies; information on :WHERE TO MAIL NON-PERISHABLE ITEMS;ALTERNATIVE MEDIA OUTLETS; 5 THINGS YOU CAN DO TO HELP IMMEDIATELY; critical contact numbers for agencies and more.

Not to mention the agency of friendship, familiarity, and sustaining encouragement this site offers to poets and readers.

Thanks to Lance Phillips for his good work and exemplary maintenance of this website.

Also, posting there is the singular perspective offered by correspondent Jordan Flaherty and "Notes From Inside New Orleans"

from "Katrina, the Perfect Storm" by Leon Wynter

2005-09-03T23:45:00.000-07:00

"There is this one, fat, black, woman who keeps wading across my TV screen. Or maybe there’s a hundred of her. She drags her belongings in a gym bag through chest- deep oily water. Her arms are as fat as thighs. Her THIGHS are churning all that’s foul beneath the surface.
And then there’s the brother. He’s a do-ragged, unshaven gangsta from central casting with a case of beer on his shoulder. Maybe he’s her nephew. He doesn’t have a record deal—yet— but he does have a nasty hard core rapin’ and robbin’ video out on cable news right now.
Auntie and nephew are the worst possible sterotypes of black America. America sees them playing on an endless loop on TV this week. We haven’t seen this many black folks acting out this much pain since the rebranded Rodney King uprising in L.A..."

to read more click on the link above or go to my "Other Links Since" & "The American Race" blog by Leon Wynter

Battlefield Circulation: To break over. To know

2005-08-03T16:18:00.000-07:00

To be---

future tense present past
to have been between that

or its

eye-light's haven

To be as such a trajectory
(active voice use ghostly "I")

retroactive

to find this

then of this
to trans-act such a re-

per-cussion
've been redistributed as light's practice

2005-06-17T19:25:00.000-07:00

Charles Reznikoff standing on a bus in Brooklyn.

Battlefield Circulation: A poem / To go with A picture/ Then back to Lisa Robertson

2005-05-31T10:00:00.000-07:00

The Supreme Courts

I'm going to go outside
where there now is

snow.

These place
where the heels have pressed

the sidewalk moves
the stares of suns.

And I will leave
farther that way left

from the apartment
where I see

(and receive)
notches

and nocturnes:
the visible snows

of between

And you will list me in your plans

dear Lord
I have you left.

These are how
the houses so;

these are
tricks the mind

learns shuts freezes become.

I move out;

I barely knew,
now to left.

I went that way.

I walked.

[Un-published poem, composed in Washington,DC January 2000, a month after first meeting Daniel Martino, Pro-Life Activist. I first met Daniel a year before this picture was taken. Dedicated to him]

Daniel Martino of Washington expresses his views in front of the U.S. Supreme Court.[from The Chicago Tribune,Tuesday, December 5, 2000]

And you did not die outside of love/And you do not judge
Lisa Robertson

and now today in memory of my grandmother

03 June 1904-31 May 2005

2005-05-31T09:59:00.000-07:00

Or maybe I should have used this picture instead:

2005-05-30T08:39:00.000-07:00

Night Gardening, 2005
Mixed media (double-sided encaustic) 13" x 9"
Augusta Talbot

(see Palmer's poem "Night Gardening" from Company of Moths)

"In German, Celan is the poet to whom I feel closest. There's something about his psychology, the way he exposes himself in the act of hiding, that feels familiar and keeps me reading."

Benjamin Friedlander

*
Friedlander's remark brings to mind Michael Palmer. Perhaps to word it this way, or propose such an amending:

"...the way he hides himself in the act of exposing, that feels familiar and keeps me reading..."

2005-05-03T20:25:00.000-07:00

*
"Poetry allowed me to control my prison and not vice versa" ---Faraj Bayraqdar

*

2005-04-28T19:49:00.000-07:00

What Kind of American English Do You Speak?

Your Linguistic Profile:

65% General American English

15% Yankee

10% Dixie

10% Upper Midwestern

0% Midwestern

Re-vision

2005-04-26T06:09:00.000-07:00

Continuing to revise a poem posted earlier ~>here

YOURS IS A BREATH OF INTERPRETATIVE ALLIANCE(s),or;

BREATHING AS AN INTERPRETATIVE ALLIANCE(played over, nourished, extant)

An envelope to straddle
by im-position a wage

light sounds instrumental

feverish not ordering
restive not in-solvent

corrosive and a backing

sutured less foreground less
adhesive, salient 'if' by that nerve

to train accent

*

From this depth light's conclave
elsewhere not spacing

restless not sortilege

assertion lest a
'narcissistic' detour post-

pone writing now

become through this dark
lifting, trans-active in its inquiry;

fill to an immersion now ?

[revising 15-18, &23,25,26 april05]

2005-04-24T10:29:00.000-07:00

Q: What is the relationship between the text and the body in your writing?

A: I can never get over the miracle that speech is a product of the body, and all the eros of language, how it feels in the mouth, how it impacts the ears. I love that language is abstract and yet so embodied, that a person says something and the words are made of breath and spit, and then the sound of the thing made dissolves into the atmosphere. The base of my 'religiosity,' if one wants to call it that, is the idea of word made flesh. Poetry is an ideal site for exploring and challenging mind-body dualism.---Elizabeth Robinson

2005-04-24T08:33:00.000-07:00

From left to right: my sister, brother-in-law, their son Thomas (born 24March05), and my grandmother (born in 1904, turns 101 years old on 03 June this year)

2005-04-24T08:01:00.000-07:00

"Bruce Springsteen's new album, Devils & Dust - his first for three years -is his darkest and most intimate to date and shows America's greatest rock performer moving into an ever deeper artistic maturity"

from a fine review of the new Bruce Springsteen album by Sean O'Hagan~> here

SAVE COWPASTOR (link here)

2005-04-23T09:19:00.000-07:00

Kamau Brathwaite in Dire Need of Help

[transposed from K. Silem Mohammad: "I'm forwarding this urgent message I just received from Tisa Bryant" (link~> here for original posting)]*

Dear All,

Kamau Brathwaite is a treasure of a human being, a brilliant scholar and magnificent poet. He has long been battling the Barbados government to keep his land, Cow Pastor, in Christ Church parish, and now, in his 70s, it looks like he may lose it, which puts his livelihood, his home, and his archive of Caribbean literature and literary history at risk.

His tone is bleak, and frightened. He's talking about burning himself upon the land, and is clearly asking for community support. Please write to him at kb5@nyu.edu, urge other poets and artists who care to write to him, and simply tell him you support him, and ask him what he needs to save his land, not what he's doing to save his land. He is asking for academics, poets, artists, to come to Cow Pastor, see what's happening there, and help him mobilize to save it. If you know artists and writers in Barbados, please contact them and urge them to help.

If you can do this, do this.

Thanks!

Tisa

***
In the end, we will remember not the words of our enemies, but the silence of our friends. -
Martin Luther King Jr., "The Trumpet of Conscience", 1967

---
Tom Raworth created a site to help Mr. Brathwaite, link provided above.

Other responses:

Lisa Jarnot~> here

Jordan Stempleman~> here, and here

Joshua Corey~> here

Ron Silliman~> here

2005-04-18T16:45:00.000-07:00

I've come across two interesting essays recently. Both are available to download (links below) until 25 April 05. After which, you'll have to subscribe to HighBeam Research (but the link will get a quick preview, ongoing).

I'm slowly making my way through Barrett Watten 's piece. I'm curious to find this book _The Politics of Time_. But I'm not even sure what, precisely,Watten thinks of it because I'm nervously 'stalking' the essay. I'll have to move in on it soon.

But I'm excited. The tenor of it seethes with a sense of being useful. Or somehow down the road (alas, way down the road,) I'll incorporate this 'usefulness' into my own sense of a poetics.

Speaking of which, check out the way Jody Norton ...(link here: I'm surprised to discover this obituary) ...the way he introduces his piece on Ashbery. It is exemplary in its set up. Or rather somehow, in its proposal, it conflates some concerns I'm trying to articulate for myself: language, the poem, and the 'outside' (well, I guess there is no 'outside', but how?: I'm not getting it yet) *.

I'm beginning to connect something to this and 'pro-prioception' (which Ron Silliman first drew my attention to in his blog) and something Charles Olson discusses in Projective/Verse (1950):

"It comes to this: the use of a man, by himself and thus by others, lies in how he conceives his relation to nature, that force to which he owes his somewhat small existence. (...) if he stays inside himself, if he is contained within his nature as he is participant in the larger force, he will be able to listen, and his hearing through himself will give him secrets objects share. And by an inverse law his shapes will make their own way. It is in this sense that the projective act, which is the artist's act in the larger field of objects, leads to dimensions larger than the man."
--- --- ---
* There is another thread here. Reaching toward, but inside, an extrapolation. It would have its place in another context if I was not making the attempt at an 'imagining what you don't know' . Also, I am recalling now something Jerome McGann has referred to in _The Romantic Ideology_ as a:
"generic yoking of these works, the imputing of an ideological parallel between two very different sorts of [work] on the basis of an idea"...

That is, I'm recalling the thread here from the Michael Palmer 'piece' {commentary/critique?}: reading in "Severance Songs" by Joshua Corey in the section "A Portfolio of Twelve Emerging Poets" from Conjunctions: 43: Beyond Arcadia

"Yet the song itself is implicated, as is each citizen, in the mendacity and the war against meaning, since there is no "outside". Even homeless, even speaking against, the poet is part and parcel of the decaying body..."

(FROM : p.154 of MY copy of 'Conjunctions: 43'. Of course, an attentive reader of Palmer recognizes here what is not a 'mannerism', or a stylistic 'tic'. When you are citing another's work there is also this disclaimer : "my copy". Furthermore, for Palmer any reader becomes, at times, 'dearest reader'. Not precisely due to some kind of pre-determined criteria or 'shorthand'. Nonetheless, every reader here is an attentive reader already. And at any moment they may know this, as well. I suspect this comes from a kind of odd garnishment Palmer--- in his skepticism or by some other inverse law of 'iteration'(?)--- received from being a close reader of

Robert Duncan : Ie., somewhere, Palmer eludes to Duncan's 'anti-ideology of romance' in another convergence, or conversant reading 'of' , though perhaps not 'in' Jerome McGann: Palmer's "Robert Duncan and the Poetics of Instruction" from Peter Gizzi 's O-blek magazine( now out of print), that I first read some 12 years ago).

--- --- ---

Anyhow here are the two articles I'll be spending some time with. It will take me some months actually. I'm that plodding when it comes to this dimension.

from: The Politics of Time: Modernity and Avant-Garde.(Review) (book reviews) by Watten, Barrett

source: Criticism, March 22, 1999.

via: HighBeam™ Research

COPYRIGHT 1999 Wayne State University Press

2005-04-18T16:44:00.000-07:00

and the second article:

from: 'Whispers Out of Time': The syntax of being in the poetry of John Ashbery. by Norton, Jody

source: Twentieth Century Literature, September 22, 1995.

via: HighBeam™ Research

COPYRIGHT 1995 Hofstra University

2005-04-18T07:24:00.000-07:00

G.O.!

Shot out to my friend Mark Borror, trying to recover from surgery. He's now in Denver re-cuperating.

Back in December, I left him a copy of George Oppen 's _Selected Poems_ when I saw him in San Antonio, and he claims to be struggling. His first reading of Oppen.

Hey man, you get it.

Start your own Blog! Tell me more about Noam Chomsky, your favorite writer (currently).

Hey man but listen:

the poets I read don't think much of his theories on Language; but you read him for his activist stuff.

Yeah Baby!

More later

Peace out.

Battlefield Circulation: 9 days of mourning* & the appeals of Echo

2005-04-13T21:30:00.000-07:00

"Song of the Brightness of Water" : Last week, I heard the TV explain this was Karol Józef Wojtyła 's first published poem. (**)

But here,

(still not confronting in my own sense of a poetics the trauma of broken narcissism

still feverish, this distant [axial?] light of distraction)***

to-day I read :

" self-regarding, blind, deaf and mute to the appeals of Echo, the nymph in love calling Narcissus, Narcissus, spring water repeating the face of Narcissus, reflections of Narcissus in the nymph's echoes, water in water as light upon light, light in water." _Paulo Leminski, "M
etaphormosis"

(*) but this duration before the conclave

(**)From this depth—I came only to draw water
in a jug—so long ago, this brightness
still clings to my eyes—the perception I found,
and so much empty space, my own
reflected in the well.

Yet it is good. I can never take all of you
into me. Stay then as a mirror in the well.
Leaves and flowers remain, and each astonished
gaze
brings them down
to my eyes transfixed more by light
Than by sorrow.

(***) My poem(below) I'm beginning here in this context, tentatively called (as of 23apr05)
"Yours is a Breath of Interpretative Alliance(s)" :

2005-04-13T21:29:00.001-07:00

YOURS IS A BREATH OF INTERPRETATIVE ALLIANCE(s)
(played over, nourished, extant)

That you straddle some kind of imposition
light sounds instrumental feverish notation

immersion imploding sound was ordered light.

Acknowledging this now (taken
-in) let's say: restive in its application

causing further in-solvency and

but for its resolved alchemy, staining
rest-itution: 'if' by that nerve

to train accent

*

if from this depth light's conclave
restless spacing, restless elsewhere

(that you would have con-verged on your light's

breathed equation) a quandry
'narcissism' de-spoils, as insertion as assertion

is (the same way) post-poned

detoured here writing
is now this trans-active inquiry;

fill to an immersion now ?

[revising 15-18, &23 april05]

"Sometimes the self-hating face of love is American...

2005-04-02T21:18:00.000-08:00

...Sometimes we win the war
and vote out the people who brought victory
because sometimes we attend the formal
celebrations and mourn anyway." __from a poem ("Sometimes") by Brad Buchanan (link to poem above ).
~~
(or searching for the third term)

The poem provides some solace and lucidity today. Apropos as critique, protest, and 'heretical' figuration , meanwhile here amidst the ''metastasizing media imagery'' (Michael Palmer*) of these recent weeks. Bombardment from all sides, 'developing argument in order to speak'. Searching instead, or calling on...? (perhaps poetry; I cannot say precisely**).

I see Stephen Vincent is frustrated; perhaps also needing a 'third term'. Or a term denoting that attention has been paid. And a place that is not just 'sometimes'. But what, precisely?(Or needing the temporary shelter of 'accuracy' as Vincent seems to term it). And then not finding this: to invoke or call on poetry's attention. But what is that? How does poetry make us here? How here? Meanwhile,Terri Schiavo, Pope John Paul II, and so on. ...And a few obits and little else about the passing of Robert Creeley, to speak of.

God help us.

*
(*) when commenting on Claudia Rankine 'here' in Don't Let Me Be Lonely . Another, that is very useful, reading in today's climate. (I just read this last weekend. I'll be referring to it in future blogs for many years to come. )

About this same book Robert Creeley wrote:

"Claudia Rankine here manages an extraordinary melding of means to effect the most articulate and moving testament to the bleak times we live in I’ve yet seen. It’s master work in every sense, and altogether her
own.”
(** ) "If ‘poetry is vigilance’, if ‘it makes us wonder…who is looking after us and into us,’ perhaps we can call this tension: the vigilance of the third term. Perhaps we can call on its attention. " (thanks to Benjamin Hollander here)
Also, of course, George Oppen(from 'Of Being Numerous') is cited both by Hollander and Joseph Noble in both of the links provided above.

2005-04-02T21:17:00.000-08:00

[Update 30 April 2005]

Interesting to read this piece <here> by Bobby Byrd, who takes note of the confluence of media events which surrounded the news of Robert Creeley's passing:

" Then a few days later the Pope died in Rome—where he was supposed to die. The media made sure that the whole world followed the Pope on the journey to his new status as Holy Cadaver and Future Saint. But news of Creeley’s death, not-withstanding his importance to American cultural history, was muted, traveling mostly by short newspaper obituaries, e-mails, and telephone calls".
**
And link <here> for recent update on the Robert Creeley Poetry Award, given this year to C.D. Wright .
[update 07 May 2005] And link here for an interview with C.D. Wright where-in she discusses the award and the continuing presence of Creeley in today's poetry scene.

The Right to Die

2005-03-31T20:45:00.000-08:00

The link above connects to an essay of the same name by Sam Harris, posted on the official Sam Harris web-page.
Today, Harris was interviewed on "The O'Reilly Factor". He was the featured guest on the show's Unresolved Problems Segment: "Secular&Religious lines in the Schiavo case".
I was impressed. Others must be impressed as well. His book (The End of Faith: Religion, Terror, and the Future of Reason) is doing well on Amazon.com.
(But I link to the Barnes and Noble site. The commentary is more interesting) .
Anyhow, I decided to find out more. Below are some quotes from "The Right to Die" which stand out to me; and they catch the general drift of Harris's remarks to O'Reilly:
..."If you cannot think of a situation in which you would want a doctor to put you to death -- or put to death the person you love most in this world -- then you are not thinking hard enough. "...

..."Consequently, most Americans find it quite plausible that Michael Schiavo is simply carrying out his wife’s wishes in asking that her life be terminated."...

..."Clearly, our country needs to have a national debate about medical ethics. But we are not having such a debate. And phrases like “erring on the side of life,” even when spoken by our President, do nothing whatsoever to illuminate the relevant ethical terrain."...

..."Unfortunately, in every state but Oregon, those who wish to die at a time of their choosing, rather than suffer a protracted disease or disability, must die by natural causes—which, as in Terri Schiavo’s case, often entails death by starvation."......

"The religious taboos that surround the subject of suicide in our society have created a situation in which people who want to die for all the right reasons, and could die pain lessly, have no option but to starve to death or to oblige others to break the law on their behalf and risk prosecution.…”

..."The same taboos that prevented suicides from receiving Christian burial for centuries now keep the most miserable among us from painlessly ending their lives when life itself has become intolerable."...
..."And the current marriage of religious dogmatism and political power in ourcountry prevents our elected officials from even discussing this situation." ...
..."Defenders of the status quo regularly point out that the legalization of euthanasia or physician assisted suicide poses ethical problems."...
..." Rather than have a necessary debate about assisted suicide and euthanasia, we now have the spectacle of our President and Congressmen hurling themselves in the midst of a family tragedy for purely political reasons, to appease the hunger of religious conservatives." ...

..."The case of Terry Schiavo is only the latest example of evangelical populism taking the place of ethical argument in our society."...

in memoriam

2005-03-30T21:21:00.000-08:00

Robert Creeley 1926-2005

Whoever burns
me and, burning, reigns,
take this game.
One day, cherish my name.

Paulo Leminski, Tr. Regina Alfarano, with revisions by Robert Creeley

(and try here )

<~{more about R.C.}

2005-03-30T21:20:00.000-08:00

"All that seems another edge of history now. But as you read and think of what is to be found here, how it calls to mind insistently a various meaning, how it feels its way, how this manner of saying something may be more direct, perhaps, than that, remember--- Oh fathers and teachers ! ---that this is the same way Zukofsky went, and that this is what he found."
~~> (from his Foreword to A Test of Poetry)

2005-03-30T21:19:00.000-08:00

<~~ and link here, Robert Adamson tribute;

and here, Stan Persky tribute )

2005-03-10T21:19:00.000-08:00

Here's the beginnings of a letter I'm trying to put together in response to Lisa Jarnot 's call for help in dealing with the terrible situation over there at the website "American Thinker" and the essay by Alyssa Lappen, “Poetry, Terror, and Political Narcissism” after it already had appeared at Campus Watch.

***
Other bloggers respond to "Campus Watch":

{04 April 2005 ->UPDATE: here } by Robin Kemp
{22 April 2005 ->UPDATE: here } by Kristen Prevallet
***
and-> here by Joshua Corey

***

Dear Lisa Jarnot,

I’m in a quandary and trying to sort out various threads here. I would like to formulate a response to that disastrous essay written by Alyssa A. Lappen. My head is spinning, and it is not possible at this time to get my thoughts together. Or write a cogent piece.

I’m trying to apply some logic to the situation. Maybe I could number these various threads. I just read this very cool definition of the word ‘paradigm’ today, so I have tried to work it in:

(1)
I’m trying to come up with a response to “American Thinker” “Jeanne” (does she realize that her name is in danger and in quotes too)? In quotes, because she takes it for granted that she already is an “American Thinker” or knows the proper way to get there.

(2)
“Jeanne” is assuming that even if she is not already an “American Thinker”, ( ie., in the Emersonian sense of some ‘ideal’ that we might point to or strive for), she knows what an ‘american thinker’ is when she hears it: and baby there ain’t no way this gal (you, Lisa Jarnot) can be one.

(3)
Paradigm: A shared set of assumptions. The paradigm is the way we perceive the world; water to fish. The paradigm explains the world to us and helps us predict behavior. ---ADAM SMITH, Powers of the Mind

(4)
What’s going on with Alyssa A. Lappen ? Alas, I did the google on her and found some more troubling behavior. I like this poem MOONSHADOWS (1972)

(5)
But something has gone wrong since 1972? Between MOONSHADOWS (1972) and HOW IT HAPPENED (1998), or A POEM AT NIGHT (1998) she has not seen her way clear of something. What could it be. Well one thing is this:

That poets don’t write propaganda. And HOW IT HAPPENED turns itself into propoganda.

Now she is writing ‘bad’ poems. Where’s the ‘poetry’? Of course not every poem emits 'poetry'. And for Alyssa Lappam, the ‘poetry’ has almost disappeared.
Or at best she is writing ‘verse’ as some self-appointed ‘poet-laureate’ of the diaspora, as if we all did not share that same fate, not just the Israelites.

Sorry Alyssa, but it is too late to show you what has gone wrong . Maybe Paul Celan can help you.

(6)
The twenty five years between these poems have not done her well. It would have been better if Lappen had taken an oath of silence like that other poet of Jewish descent: George Oppen. Lappen has an axe to grind. Oppen worked with the Communist party in the 1930’s and refused to write socialist ‘verse’ that would be propaganda.

(7)
Paradigm Paralysis: Our paradigms can be so deeply routed, so unquestioned, that they can become barriers to our ability to see new opportunities.

(8)
How in the HELL can you explain this to Lappen? Show her to herself, and her own paralysis? But damn it , why should we ‘suffer fools gladly’, as Joshua Corey points out on his blog? The damage is done? The harm is already done against poetry and against Alcalay. She will turn people against poetry, and continue to enforce this inane ‘fox news mentality’ of ‘we report, you decide’. Bullshit.

(9)
Dear Ms. Lappen,

I see from your early poem “Moonshadows” that there was some potential there. But now, in a poem like “How it Happened” you gave up. Don’t you see that you are now writing propaganda? You are afraid to cast your real ‘darker half’, your true heart, on to the scene because you would see that its projection is also fascist. Your essay is complicitous within the very horror you wish to portray. You’ve made it more difficult for us to see the paradigm, and to acquire a new and better “shared set of assumptions”.

Instead you rail on against anything ‘other’ then Israel?

But as I see from your book reviews on Amazon.com (you are listed as one of the Top 500 reviewers), that it is almost too late for you. What do you mean by this remark (?):

“Israel is not perfect. But few other nations can legitimately claim to be more perfect. That an Israeli penned this book only proves that Israelis are often their own worst enemies”.

You are your own worst enemy.

Finally let me quote back to you something you wrote in your essay on the web: “Mourning the Death Of Peace”, and about your extending a hand toward a Palestinian poet you thought you admired. Here is what you wrote:

Months later as violence erupted, I extended a hand again - a small gesture I
nevertheless felt necessary: Jewish theology requires small acts of goodness. These in turn can save lives - and each life is considered as an entire world. His reply pained me: On the one hand, he accepted my sincerity. On the other, he questioned it: "The Jews demand, rightly, apologies and compensation from those who wronged them. These are not part of Israel's negotiating discourse. That is why, to tell you the truth, I find your signature at the end (Shalom, Salaam) too casual." For every gain his people might make , he said, "we will pay a terrible price." I wrote our editor, "When even poets cannot talk, we have a problem in Jerusalem." I had no idea yet how big.

You’ve answered the question yourself without knowing it Ms. Lappen:

Your ‘small acts of goodness’ are too casual. Don’t you see?

You think that this essay of yours is an act of goodness.
Hey, I don’t mind goodness, but let’s set aside theology for a moment, Ms Lappen, and talk about poetry.

Or let’s not. Have it your way. Let’s not set aside theology.

Poetry doesn’t care one way or the other. ( Hey Jeanne, Are you getting’ all this?)

Your own poems over the years have turned casual themselves, Ms Lappen. And it is not without great harm to you and the rest of us. You lost something. We have lost something.

Ms. Lappen, You lost poetry.

Where is poetry? Where is it now? And where is your poetry? What happened to that heretical imagination you showed forth in that early poem of yours?

Furthermore, ‘Casual’ may be a synonym for ‘banal’.

“ The banality of evil”. You’ve heard of that haven’t you. ? And of Hannah Arendt ?

Your essay “Poetry, Terror, and Political Narcissism” is casual. You have casually lopped off the heads of some wonderful poets ( and real poets Ms. Lappen, believe it or not, are already sacrificing their heads. It goes with the territory).

In your essay, you are as casual as an SS guard turning on the gas.

Meanwhile, you have contributed more to the potential destruction of your own people then you realize. Why? Well, we are all probably done for anyway. But poetry is the one thing that can change minds for real. This just ain’t dreamin.

And Alyssa, would you read some Paul Celan ( who lost his parents to the holocaust) and give the rest of us a break.

(10)
Sincerely (casually?)

Arlee

This is very interesting. I can use this. Way to go Lisa Jarnot! ...

2005-03-08T20:42:00.000-08:00

...‘The body is useful’ (Rosmarie Waldrop)

"In Right modernism, a hyper-realized, reconstituted authorship tries to equate political authority with the construction of a subject-centered formal order that fixes or stabilizes the aporias of modernity, while in Left modernism, an other-directed, self-reflexive authorship makes an intervention into situations or events occurring within and as modernity. If this analogy holds, modernism’s self-reflexive autonomy may be more a hypostatized ideal than a norm, only one among many along the way toward its further articulation—in which multiple, heteronomous modernisms “go to their encounter” with modernity."

--- Thursday, 3 March 2005 :'And Now, A Statement from
Harry, Bela, and Mina' from Lisablog (see my list of 'other
blogs, Lisa Jarnot)

Notes for "Another Abysmal Imploding"

2005-02-18T20:39:00.000-08:00

Dear Arthur,

Your plays: will this work for us? Your comment ,vis-a-vis A View From the Bridge, perhaps its obsession and betrayal :

"I consider I am rejected in principle. My work is, and through my work, I am. If it's accepted, it's miraculous or the result of a misunderstanding."

About your play After the Fall you have said that:

" No one is reported in this play. The characters are created as they are in any other play in order to develop a coherent theme, which in this case concerns the nature of human insight, of self-destructiveness and violence toward others"

2005-02-18T20:38:00.000-08:00

I can't help but think of london bridges
falling down. Well, at any rate, what of it? Because I would not in that light
curtail you or find its evidentiary notice, I ask what is happening, though
nowhere or nothing after the fall escaping this is a spire or in air a trail
that is a page that claimed also: a path crossed precipices deriving something
about the breath's consistency in a mirror against you, though I'd witheld no notice of such a claim So there is my basic
question asking : How it is a bridge, Arthur.*(see endnotes for further
breakdown and analysis)*Sincerely,

Arlee

2005-02-18T20:37:00.001-08:00

(explanatory notes for the poem posted yesterday 17 Feb 05)*

Letters A thru H with explanatory notes of my question "If (I ask) how"*

Endnotes covers 8 words as if to extend their reach, or reverse their crush in more or less 'actionable' light; or it helps to ask a question as if with an extended reach.

*note: if you find this confusing, take out all the numbers, letters, and parenthesis, and sound it out that way, in-serting what you will back in.

2005-02-18T20:37:00.000-08:00

Explanatory Notes

"If (I ask) how":

[A] because of the inference

-(by that I mean your light)

withdrawn (1)

[B] only to what-is its own substance

-(or accident: furthermore yes, I know I am)

asking(2)

[C] upon reflection how

- (this apparatus is)

emblematic(3):

[D] if enforced, it's ab-staining

- (re-solution its own search-)

light(4)

[E] memory accords with-out

- (to work a sever-ed )

re-quest (5)

[F] in a format to be speaking

-( your 'mind is just an idea of the

body') (6)

[G] so that it is 'either in

- (itself or in

another') (7)

[H] that upon re-flection

-(Arthur I ask

how) (8)---

***

(endnotes)

1) I ask how it is a bridge if nowhere
2) I ask how it is a bridge or nothing

3) I ask how it is a bridge "after the fall"

4) I ask how it is a bridge escaping this

5) I ask how it is a bridge is a spire
6) I ask how it is a bridge or in air, a trail
7) I ask how it is a bridge that also is a mirror

8) I ask how it is a bridge when I ask

****

Another Abysmal Imploding

2005-02-17T17:56:00.000-08:00

(revision of the poem posted to Arthur Miller on 12 Feb 05)

If (I ask)

how---

because of the inference
by that I mean your light

withdrawn

only to what-is its own substance
or accident: furthermore yes, I know I am

asking

upon reflection how
this apparatus is

emblematic:

if enforced, it's ab-staining
re-solution its own search-

light

memory accords with-out
to work a sever-ed

re-quest

in a format to be speaking
your ‘mind is just an idea of the

body’

so that it is ‘either
in itself or in

another '

that upon re-flection
Arthur I ask

how---

it is a bridge:

if nowhere

or nothing

"after the fall"

escaping this

is a spire

or in air a trail

that also is a mirror

when I ask

Arthur

in memoriam

2005-02-12T14:49:00.000-08:00

Arthur Miller 1915-2005

Abysmal Imploding(s)

2005-02-12T14:48:00.000-08:00

to Arthur Miller (1915-2005)

(I ask) how
because what is inferred-

(and yes by that I mean
your light withdrawn)

-but also what is
its own substance or accident

( furthermore, yes, I know I ask)
-how, upon reflection

this apparatus is enforced
is resolved is its own

searchlight, its own
memory-work

its own severed request
stained one by one,

panic, quality its format
speaking of you now

it is 'either in itself or
in another'*,

but upon reflection
Arthur-I ask

how is it a bridge
that nowhere and nothing

'after the fall'** escapes
this spiral of air, how

is it a stage
when I ask,

Arthur?

*Spinoza

**also the title of Miller's 1964 play

Battlefield Circulation: As In What I Like To Call

2005-02-09T20:25:00.000-08:00

:
I heard an American Commander in Iraq say this.

It was during an interview on NPR today.It would seem that some military units (ie., military police) can supervise or provide support to the battlefield by conducting 'battlefield circulation control'.

I heard this commander say how he is encouraged by some of the things happening. Amongst the Iraqi people, he 'hears' and 'knows' of their hatred for the insurgents.

How do you know? , the interviewer asked.
What I like to call battlefield circulation, he said...

+

"If there is no dialogue there is war"(*)

(*)I heard the father of a student at the University of Colorado say this.

I was watching C-Span coverage of a Ward Churchill speech today. During the Q&A, I heard a man say his daughter attended the university.

He wanted to thank Ward Churchill. So he said ‘thank you’.
The father also said he was a "Lakota".

"If there is no dialogue there is war”, is the last thing he hurriedly told the audience:
Ward Churchill said it was time he passed the microphone to someone else.

+

2005-02-08T18:46:00.000-08:00

Gottfried Wilhelm Leibniz (1646-1716) :

"Ontology or the science of something and of nothing, of being and not-being, of the thing and the mode of the thing, of substance and accident."

From:
Louis Couturat - Opuscules et fragments inédits de Leibniz (Paris 1903) p. 512 (only occurrence of ontology in Leibniz's writings)
-

2005-01-17T09:31:00.000-08:00

"Everything in a poet’s life – I mean this more or less literally – is an incentive to stop writing."
from Ron Silliman's Blog :January 17, 2005

And now...

2004-11-01T10:29:00.000-08:00

Stay tuned. I still want to blog. Remarkably I still have a few readers. (one or two)

My home of record is Florida, and I got my absentee ballot mailed in last week. I sent it via overnight mail. The election board recommended this to guarantee it would be in their office on or before November 2nd.

I applied for an absentee ballot around August 19th. I received my ballot only 10 day ago.

Well, more about that in my next blog. And more about my evolving theory on how this blog should go. Something Edward Dorn wrote has helped to clarify something in my mind.

"Writing-in-process"

2004-09-16T09:50:00.000-07:00

One of the things I'm enjoying about blogging, is the chance to continue to re-write and re-vise blogs I have previously published. This seems to be part of my project in public view. But to set it forth here again, I have to say that I am attracted to the notion of a 'palimtext'. I cited Susan Howe in an earlier blog. She has offered a definition of 'palimtext', observing that it

"is neither genre nor object but a writing-in-process. As its name implies, the palimtext retains vestiges of prior inscriptions out of which it emerges. Or, more accurately, it is the still-visible record of its responses to those earlier writings".

As such, I have much revised my post from 12 September ('9/11').

9/11

2004-09-11T23:52:00.000-07:00

Today, I found the following quote (+) from Theodore Dreiser's novel Jennie Gerhardt on Nick Piombino's website, "fait accompli" (see my favorite links). This past week, images and commentary on 9/11 blasting through the 'whole machinery of social intercourse', Dreiser saw and knew that:

"We live in an age in which the impact of materialized forces is well nigh irresistable: the spiritual nature is overwhelmed by the shock. The tremendous and complicated development of our material civilisation, the multiplicity, and variety of our social forms, the depth, sublety, and sophistry of our imaginative impressions, gathered, remultiplied,and disseminated by such agencies as the railroad,the express and the post office, the telephone, the telegraph, the newspaper, and, in short, the whole machinery of social intercourse- these elements of existence combine to produce what may be termed a kaleidoscopic glitter, a dazzling and confusing phantasmagoria of life that wearies and stultifies the mental and moral nature. It induces a sort of intellectual fatigue through which we see the ranks of the victims of insomnia, melancholia, and insanity constantly recruited.Our modern brain-pan does not seem capable as yet of receiving, sorting, and storing the vast army of facts and impressions which present themselves daily.The white light of publicity is too white. We are weighed upon by too many things. It is as if the wisdom of the infinite were struggling to beat itself into finite and cup-big minds."

Confronting the 'too white' noise of publicity, I turn to Ron Silliman's entry this day.(+)Liberating a few words from a piece by Jack Spicer, if you will . And for this reader (and blogger) it is another reminder that to enter the charged space of poetry affords one the opportunity to take part in the creative will of another. To write the poem again along with another.

Somehow the battle or war that Dreiser, nearly a century ago, attested to rages around us still. Of course. But why? What can we do about it? What kind of 'war' or battle are we waging? And what, if anything, can the poet add here? Reading the Spicer poem, we ask ourselves, "Is the poet's word in vain?" In other words, if it is a battle, and we almost (none of us) cannot avoid being recruited (against our will, and if only from time to time) into the ranks of the insomniac, the melancholic, the insane...if this is un-avoidable: what is the poet's recruiting effort in this battle?

Is it to simply inspire? To offer creative suggestions? Does the poet have an agenda before during and after poetry? Do we leave poetry behind as something over there as opposed to here: here where I earn money, take care of family and friends, fulfill my obligations in the social contract? And when I am inspired, or retrieved, does it happen over there? And here, I cannot avoid these other beings I share space with and who are already commited, already bulwark(ed).

What is the nature of this conflict? Is this endless 'white noise' of publicity suffocating us until we are pacing back and forth in our cages like Rilke's panther?

Put another way, is the nature of this conflict as such because we are social animals ourselves squeezed into the same suffocating parameters, inert to the current 'machinery of social intercourse'? Octavio Paz has written that "we live in a present which is 'fixed and interminable' and yet constantly moving: a floating present".* What is this present that we are the supposed witnesses to? What space does it occupy? Like Meno's Paradox, would we know it if we saw it:

Meno poses a dilemma to Plato: "But how will you look for something when you don't in the least know what it is? How on earth are you going to set up something you don't know as the object of your search? To put it another way, even if you come right up against it, how will you know that what you found is the thing you didn't know?"

[As an aside, let me say this post is an attempt to 'raise the question of space'. But why this given perameter and why not another? So: what space? Where are we located, and how does an observation from Dreiser arrive at my front 'stoop'? I'm further intrigued by the question as it finds Merleau-Ponty in conversation with Michael Palmer : his poem "In an X" from The Promises of Glass ].

++

Isn't this 'machinery of social intercourse' that Dreiser writes about 90 years ago, itself occupying a space which we only incidently share ? Is this the kind of progress we have made in the past century: to now argue limits of consciousness? Why? Perhaps we sense the collapse of our social structures. What is this catastrophe? As 'culture' further shreds and unbinds, what is the apparatus we are left with? What are we leaving for others just arriving?Can we still call THIS society? How? Where is the question of community now substantiated?

Isn't this 'present' space today in radical 'dispersion' ? I suppose I'm trying to recall (is it Heidegger?) the acknowledgement that the Logos has been 'radicalized' (or is it de-limited) into 'techne'-logos?

Perhaps one thing poetry affords us is a kind of critique of consciousness, rather than recruiting us into the ranks of the soon to be 'consumer'. Reading just those few words of Spicer, we are momentarily 'freed of company'.

We can know that (and know that we know) we are not: seeing 'world' . But how has this happened? Meanwhile ( all-the- while) our body (our physicality) is subjected to the onslaught of something 'outside' that we either don't see or cannot speak to. What is being obviated here interminably, without our consent, and without recourse?

Instead, how is this ( news, or noise , this panic[ed] dissemination) misreading us? Could it be that we are not mis-interpreting the signs in so far as it is not we who are endlessly postponed, or dismissed. Rather is it not 'space' itself which is in dispersion?** .
+++

So the question begs repeating. What (if anything) can the poet add here? .

I have tried to leave here some question inside a breach. I have tried to demonstrate the 'value' of reading a poem by Jack Spicer today. Any day, for that matter. And whatever accomodations need to be made, Spicer's is a situation that took its toll. This is one of the many controversial re-assessments raging today around Spicer and his work. What happened to him? How did he join the ranks of Dreiser's "victims of insomnia, melancholia, and insanity constantly recruited". Was he responsible for his final collapse, or is his fate attached to the notion (misunderstood by many, including it would seem Spicer himself) of the poet as sacrificing 'self' on the (let us say) altar of 'consciousness"?

++

Poetry, if we wish to subvert any particular poet's 'project'(for the sake of a blog reflection here to argue 'limits of knowledge' in my case) offers a momentary 'reconciliation', the point of convergence famously observed by Heraclitus as the tension that " differing agrees with itself, a backward-turning connection, like that of a bow and a lyre ". Perhaps this is why I chose to quote the poet Octavio Paz above. I often turn to him as a reader when faced with such 'alternating currents'.

But the risk here is that things gets pushed further. And I wouldn't necessarily point to this as a moment of conscience. Is that only what the practice of poetry and reading offers? Reconciliation or release of tension? Is this 'release' similiar to the moment when the 'erotic embrace' has been substantiated? Is it time again to put your clothes back on, get home and shower and not be late for work? Can we push the context of poetry into another decision?

How for example is poetry 'practical'?And does it have to be anything? Or anywhere? Does it have to do anything? But what happens when the poet embraces the executioner? Milan Kundera seems to have witnessed this kind of thing when he lived in Soviet occupied Czechoslavakia, and felt betrayed by poets (I can not remember who they were at this writing) embracing Stalin. I remember Pablo Neruda in another context, however. I need to do some further research.

+++

For the sake of these reflections posted here and to keep the momentum from faltering, I break off at this point. And start again with regards to the poet Jack Spicer. What does the poet offer here? Not a white flag of surrender. But a caution flag of sorts; especially when the 'reconciliation' becomes cosmetic or an appeasement by painting over the actual... fissures, cracks in the real.

Spicer held out as long as he could. And yet there are troubling questions about the diseased corpse he left as alcoholism devoured him. And in his poetic confrontations, as I understand them, from about circa1957 to 1965, he restlessly continued to cut off escape routes. Did he feel that the sacrifice he made to alcohol, the disease of it, was the penance he felt he had to offer to continue being a poet? And he seems to have been able to face himself down in the mirror only and up to the actual terminal point : as Robin Blaser seems to testify to in his closing essay in my copy of The Collected Books of Jack Spicer . Poet as 'hero'?. Maybe it's possible poet's can be 'heroes of perception". But Spicer would have none of it.

Spicer rejected the 'hero' label attached to the poet: and the toll of being a poet can't be confused with the ravages and toll taken by alcohol.

*from Octavio Paz's epilogue to The Bow an the Lyre

Once a year at least, I'll re-read "Signs in Rotation"(1967)his new epilogue(as Paz points out) to the 2nd edition of The Bow And The Lyre ( first published in the original Spanish,1956).

Maybe in a future blog I can discuss the fine impression he made on me at the Elizabeth Bishop Conference in Key West FL, in January 1993.

"To space in movement, word in rotation; to plural space, a new phrase that will be like a verbal delta...Word on its own, through inner and outer spaces: nebula contained in a pulsation, blinking of a sun...Writing in a changing space, word in the air or on the page, ceremony: the poem is a cluster of signs that seek a meaning, an ideogram that revolves on itself, and around a sun as yet unborn" Octavio Paz

** Paz often reflected upon 'the gradual decline of the world image' in his work : "Man does not see the world: he thinks it";

(or) "we hear the world again, although we still cannot see it";

(or)"...the letter will cease to occupy a central place in men's lives.The space that supported it is no longer that flat and homogeneous surface of classic physics on which all things, from stars to words, were placed or deposited" ;

(or) "Today space moves, sits up, and becomes rhythmic"

(or) Thus, the reappearance of the spoken word does not imply a return to the past: the space is different, more vast and, above all, in dispersion."

(cited from "Signs in Rotation")

(this post was revised on 15/16 Sept Arlee Christian)

Blogging

2004-09-11T14:55:00.000-07:00

As time allows I check on the blogs of many different poets. Some of my favorite links are listed here.
+

Whoa. I just lost my original posting for today. Here's a new entry to paste on the original:

This blog entry I'm writing here is a 'palimtext' of sorts. It has been reported that George Oppen's daybook entries would be cut up and pasted over (or literally glued on)other entries as he composed his poems...

Maybe this blog can help me develop a public self which I can paste on to my readings and thinking and crossings of words, language, poems, poetics, the body, etc. For example, how or where or why do they intersect? Or brandish each other?Or at least try to cohere, or adhere.(?) How am I affixing this to that?

But I better make sure I'm connected to the web before I try to publish. This is just a short re-capitulation of the earlier post which I lost about 10 minutes ago.

+ +

Nick Piombino has many interesting observations on 'blogging: (check out
vol 3 issue 4 of the webzine Sidereality www.sidereality.com/) :

"What I want from my experience of writing is to discover what I want from life and writing and what I want to have with and from others. Not to proclaim it: to discover it. It goes without saying that approaching art this way means keeping this an open question. This is difficult living in a culture like ours, but not impossible, with more than a little help from my friends."

"What I mean by the dailiness of blogging is a dailiness of connecting with other writers. On blogs poetic work is seen for what it truly is: provisional."

So(for example)there may be entries from my own daily journal or 'daybook' here in a blog format. I may wonder aloud how these entries will 'morph' into future writing. Or future poems. Or future poetics.How will "I" haunt my future writing? Or how will these jottings, pasted over other texts, other readings figure into a future 'palimtext'? These 'diacritical' markings from today, Sept 11, may be tomorrow's 'ghostlier demarcations' *.

+ + +

What was I listening for, and then how was I listening, with CNN on in the background? How did the media's strangling demarcations figure into just these few words put in my journal? Maybe my first diary entry on the 3rd 'anniversary' of 9/11 may cohere into 'future' discussions. Here now, trying to sound the thing out and wondering from what 'prior inscriptions' it has emerged:

This is an
anglicized

light-to retract to
impulse

to-
postpone

this
devalued

inclination
to sound

* ie., check out David Kellog's 'review' of Ghostlier Demarcations: Modern Poetry and the Material Word by Michael Davidson( Berkeley: University of California Press, 1997) :

"...one of the objects of Ghostlier Demarcations is to provide new ways of reading the "material word" of modern poetry. Theoretical advances tend to produce their own vocabulary, and the one neologism here is the palimtext. As defined in an essay on the late-modernist George Oppen and contemporary poet Susan Howe, the palimtext "is neither genre nor object but a writing-in-process. As its name implies, the palimtext retains vestiges of prior inscriptions out of which it emerges. Or, more accurately, it is the still-visible record of its responses to those earlier writings" (68). Oppen provides the ideal source for the discussion of these issues, since his "archive" includes manuscript pages "onto which new lines or stanzas have been glued so that the revised draft seems to rise vertically off the page in a kind of thick, textual impasto."

http://www.findarticles.com/p/articles/mi_m2220/is_n3_v40/ai_21182141

2004-09-07T13:45:00.000-07:00

another

2004-08-03T19:14:00.000-07:00

Still trying to work it.

First post

2004-07-31T00:52:00.000-07:00

I have to learn how to do this.

2004-07-07T13:16:00.000-07:00

file photo

ok

ok

2004-07-04T13:56:00.000-07:00

A11

2004-07-01T11:39:00.000-07:00

Battlefield Circulation: Foraging the Anagram

2004-06-30T22:00:00.000-07:00

Circulating a practice in [stealth] autobiography, becoming perhaps, 'complementary powers of understanding',

swerving /into/
a
swirl /of /

the 'anagram'. conjugations.derivations. "transdiscursive"[Foucault]. So an 'as such'. derivations and the analog. Nervous remembrance, when "the author function is characteristic of the mode of existence, circulation, and functioning of certain discourses within society"[ibid.]

Coming here as in light's trans-duction or Just after the citation this

"My perception of my duration is an apprenticeship in a general way of seeing",

Or, if I add to this, dis-placement:

Your breath
as you are
saturated

foraging for me
a cardinal number

Then,

Your light
beyond the ex-
pectations

of what may remain
solid , attaining

assemblage
*

that is these may be ,

'tricks the mind/learns shuts freezes become'.

As in, "outlining a philosophy that would make the universal rest upon the mystery of perception and would [it] propose as its task[...]not s-w-eeping over but penetrating into perception"?

(The citation, inverted, colored indigo in the blog title from Maurice Merleau-Ponty's piece "Bergson in the Making"... as are the other quotes here unless otherwise noted)

Just before this he writes:

"Absolute knowledge is not detachment; it is inherence. In 1889 it was a great novelty---and one which had a future---to present as the basis of philosophy not an I think and its immanent thoughts but a Being-self whose self-cohesion is also a tearing away from self."

*
from his introduction to _The Foucault Reader_:

"He is not saying that the idea of justice should never be invoked in a political struggle. But his basic metaphor is one of battle and not conversation."

*
Coinside
Coinsidence
Coinsident
Coinsides
Coinsiding

Literally, "co~inside."[...]. Approximate synonyms are: co~here~ence, commingling, compenetration (William James), copermeability, cowithinitness, fusion (Henri L. Bergson), interpenetration (Bergson, Fritjof Capra), included~middle (antithetic complement of Aristotle's excluded middle), interrelationships (Henri Poincaré & Robert M. Pirsig), latency (R.I.G. Hughes), overlapping symphysis, permeation (Bergson), Venn Gestalt, etc.

in the making since

Practically: Here Comes Everybody

from "Katrina, the Perfect Storm" by Leon Wynter

to read more click on the link above or go to my "Other Links Since" & "The American Race" blog by Leon Wynter

Battlefield Circulation: To break over. To know

Charles Reznikoff standing on a bus in Brooklyn.

Battlefield Circulation: A poem / To go with A picture/ Then back to Lisa Robertson

The Supreme Courts

[Un-published poem, composed in Washington,DC January 2000, a month after first meeting Daniel Martino, Pro-Life Activist. I first met Daniel a year before this picture was taken. Dedicated to him]

Daniel Martino of Washington expresses his views in front of the U.S. Supreme Court.[from The Chicago Tribune,Tuesday, December 5, 2000]

Lisa Robertson

and now today in memory of my grandmother

Night Gardening, 2005Mixed media (double-sided encaustic) 13" x 9"Augusta Talbot

Benjamin Friedlander

"...the way he hides himself in the act of exposing, that feels familiar and keeps me reading..."

Your Linguistic Profile:

Re-vision

BREATHING AS AN INTERPRETATIVE ALLIANCE(played over, nourished, extant)

[revising 15-18, &23,25,26 april05]

From left to right: my sister, brother-in-law, their son Thomas (born 24March05), and my grandmother (born in 1904, turns 101 years old on 03 June this year)

SAVE COWPASTOR (link here)

Kamau Brathwaite in Dire Need of Help

Battlefield Circulation: 9 days of mourning* & the appeals of Echo

"He is not saying that the idea of justice should never be invoked in a political struggle. But his basic metaphor is one of battle and not conversation."

Paul Rabinow

YOURS IS A BREATH OF INTERPRETATIVE ALLIANCE(s)(played over, nourished, extant)

"Sometimes the self-hating face of love is American...

The Right to Die

in memoriam

<~{more about R.C.}

This is very interesting. I can use this. Way to go Lisa Jarnot! ...

Notes for "Another Abysmal Imploding"

Another Abysmal Imploding

in memoriam

Abysmal Imploding(s)

Battlefield Circulation: As In What I Like To Call

"He is not saying that the idea of justice should never be invoked in a political struggle. But his basic metaphor is one of battle and not conversation."

Paul Rabinow

And now...

"Writing-in-process"

9/11

Blogging

First post

Battlefield Circulation: Foraging the Anagram

Paul Rabinow

Night Gardening, 2005
Mixed media (double-sided encaustic) 13" x 9"
Augusta Talbot

YOURS IS A BREATH OF INTERPRETATIVE ALLIANCE(s)
(played over, nourished, extant)