Lyrical Brew Reading / Atrocity Exhibition poems out / Dismantling White Supremacy should require I also dismantle the intuition toward/my notion of identity/self/class preservation/power

Held some space in the reading this past Friday at Ciona Rouse's Lyrical Brew, read alongside her, and Christine Hall (the hosts of Lyrical Brew, Poetry in the Brew, respectively) as Walker Bass got his host on and got into us with a stretch of questions that I fumbled around with until docile like kittens in a can? 

A video of me reading a section of "Still, Detritivore" ( which just got put out in #3 of the sensation feelings, and will have been from some future chap for which I intend the title 'Eater, of mouths' ).

Christine Hall read with sermons pouring on sunset steps ownership from her the grips in her lungs with vulnerabilities, admissions, sorrows, sheer delights, obscure wonderments. There was a point at which I understood her to be almost being read through by her own poems, a fantastic mesmerizing shared. Ciona let her delight with world remain entirely unobscured, the optimism, the nuance and serene sense that, in her quietude all such saying is for us to share and have as if she gives it out for us.

It's nice to read more frequently, work with the writings to loosen them ( I need to incorporate it into my eternal revisions process, I need a pencil when I read ), and say and become my own projective and reconcile the words with the air with the body. Thanks to Ciona, Walker, Christine.





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Poems are out now at Atrocity Exhibition ( 2 from that 'Eater, of mouths' booklet that does not exist, that is an intention ). They constantly update their new poetry, so enter that house many times, cross that river more than once, they're going strong with it.

A couple weeks on those concis poems ( 'Hospital' 1+2 ), proofs and all that, in the meantime I got some pay cash moneys ($) from concis for the poems that I re-routed toward the Room To Read charity, whose aim is gender equality and literacy in a bunch of south African countries, south Asia countries. In the meantime and enduringly, because we are enduringly blanketed off the penance warm:



...


The equals, the dialogues, the hurt, the represented, the not mentioned - Check out poet/editor Joyelle McSweeney's Facebook post and get into those remarks/comments/replies to see some of the finer mechanics of reaction, intuitions, inclusivity/exclusivity, intention, unintention, even the VIDA attempts at partially entire, quantitative sketch, siphons in on the citizens, dramas...

Hey ViDA, very hurt to not see Action Books included in your list of woman-run presses. This press was co-founded by...
Posted by Joyelle McSweeney on Thursday, January 21, 2016

Another article ( most of the articles I've been seeing on Hyperallergic are the depth full ones, be known ) on 'Dismantling White Supremacy' ( + again the comments section are cringe full )...







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Been way much into this walking music lately, post-DMV liberations almost exactly :

"…Is it / loose suns / tilt / buildings / to / caves..." / Poems soon: Atrocity Exhibition & Concis, *COP lights my cigarette chap + reading

Called it done at one point - abandoned into a product of disquiet - so Neal Halper, Chelsea Velaga, and Meagen Crawford all did visual versions of *COP lights my cigarette.

Then read them*COP at the ol' Stone Fox via The Regenerates January reading alongside Ben Burr, and Jesse Mathison. Fun drink more inside the poems themselves as a fluid thing as they came out anyways, so I keep saying honest, un-pretensed. //



Chelsea's:

Neal's:

 

Meagen's:

 

 

*Get at me for 1 of the 2 ( or both)  copies of Neal's version - hemouthsmewrong@gmail.com

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Got back word from the deep lands outside in snowpack wire banked against biting the curb people out there that my twin poems "Hospital" ( & "Hospital") are due out towards the rear of this Jan month over at Concis. 

They feature a poem on their front page and, after its had its say, scoot it to 'The Stream' so be on the lookout in either sector for these to peaches.

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Three minutes later get back word also from the grand Atrocity Exhibition ( they like Joy Division + listen to flowers, & have hearts ) that they shall be forwarding two also pieces of the ol' poems I've leapt around for a while now, pouncing my chest off about: 

"Town, of year" ( that Marie Claire likes ) & ( the light heavyweight champion of one of the poems I haven't shown, my personal champ in endurance ) "Alligators" -

both from a sequence of chomp chapters ( like 9 or 10 ) called "Eater, of mouths" finished when it's finished.

Apparently their website (AE) is so horrendous the security blockers of the Vanderbilt connection upon whose bosom I suckle for wifi at the moment won't even get me there, but get at the contributions of Emily O'Neill, and Dalton Day therein.

What busy January held to me dear.

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Lit drama, again again.


More unthought from people that do not attempt to get behind what they are behind when they talk about what they are behind to people who are maybe not behind it or differently, at least open that dialogue up, baby. Also sort of unwieldy response too ( both sides are hurt slight, slight hurt )



T h i s then t h i s then t h i s



** A not entirely unrelated perspective I read.







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Cole Swenson's two on Wordsworth (!) over at Boston Review.

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And shall have another time to read this month, on the 29th (FRI) over @ Barnes & Noble ( off West End, Vanderbilt related ) w Lyrical Brew, alongside the establishers or umbrellas of the poetries that get out upon/for y'all Nashvillers - Ciona Rouse, Chuck Beard, & Christine Hall.


Be there, watch me be the sourpuss of the crew.

"…Spoke no // drained / brackets…" / poems at The Sensation Feelings / + Jan 11 Regenerates Reading Nashpo @ Stone Fox + A. Palisano Poem + Poet Selfies

Jan. Regenerates Reading ( poetry, art ) set for Jan. 11th, Ben Burr, Jesse Mathison, I + Visuals of AC Carter, KB, +Erin Alise Borzak. Come on: 2 for 1's, free admin, stuff for sale, mingle and yell, or isolate and mute, I don't care, just show up eh.

I have no idea what to expect but a singular, pushing event of positive, spear in your face rawness. Creek Space Collective member Jesse Mathison is in on it, so maybe the smeary arts culture will show too.

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The new The Sensation Feelings, issue # 3, is out and fabulously folding on y'all, I is here with two poem pieces for your bethlehem perusals y'all. A strip of my Inpatient Press chap o n e


( in which I repent Charles Olson, disagree, to however minute a degree, and say what is different now than then with our entanglements of human degree, matter and social... also what seems like an intuitive, half gargled reference to Mikhail poem 'you're old man' (!) - 'BACK INTO SWAMP, SWAMP CREATURE' )


( XII ) is in there, as is a poem when first I started likening a return of the body to things other than what it does without my knowledge or say so - 'Still, detritivore' ( a rad piece that feels rad that I consider one rad I do … )…




"… to've broken upon color

no
/
sill breathes glass or its absence is physically anything / no

intermediary 
given strange 
                       translates otherwise …"





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Poets deal with the selfie ( in exposed format, openness aside from just doing that activity for itself or themself, self love self ):

 

 




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Aldo vs. McGregor! Came and went faster than a double-click. Watch the corners react, such diminishing reactions, polarized affect, what their next days must have been like - The Irish, The Brazilians.

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Dang, dang: Lithub is doing some aright peripheral poetry stuff, critical stuff, I may have to begin checking them on the regular as in a matured, benefits-earning. less erratic HTMLGiant?

Reading, though somewhat more fascinated and enamored with the fervor and aheadedness and directness and eccentricity of the person ( as in, ah, Frank O'Hara - socio-intellectual creatures that draw people behind them like an adoring cape ), James Baldwin of late.

White Debt / addressed well and honestly, and honestly well : "I erased 'complacence' and wrote 'complicity.' I erased it. 'Debt,' I wrote. Then, 'forgotten debt.'



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The Demands (!).



+


Antonina Palisano's one over at Swarm - To Not My Own


"...until asking grows/ planetary/ wider/ & seething/ what’s owed

to the same walk/ at different times of day/ the changing air/ the imperative air

& if I love/ is love response/ to panic/ its possible loss/ & how to walk

with this loss/ I cannot love/ without conceiving of it/ endless presage

the falling bird/ the black core of the apple/ disbelieving/ a certain dream/ cold

in flesh & manner/ I have let you die/ but also disdain/ & want another

if I lack language/ is it care/ or sublimation

what self is here/ ..."

A Preface to Note on Tundra soon free by online at Bombay Gin, misc

Pre-hibernations, seeming organic because not to sleep. These are what I've missed, the things I remember missing anyway, those to whom this apology floats out to meet:

-Missed reading, East Side Story with Rita B.
-Missed reading, Vanderbilt Visiting Writers, TR Hummer
-Band of Poets, Bobby's Idle Hour, with Ciona Rouse, Luke Wiget, others
-Poetry Book Release for Trinity Lane, The Stone Fox, with Whit Smith, Daniel Pujol, others




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Got one of the Note on Tundra prefaces "( Architectures )" over to Bombay Gin's (Jack Kerouac School at Naropa University) online features section, with a video trailer (!) chunk done by Fields of Black Sand heart Meagen Crawford, and The Atari Hairdo himself, ol Computer Lungs Todd Michael Rogers.

That video trailer plus another done by ninja secret refuge citizens will be unfurled as when the proper time settles down.




Not sure when this front of Note is out, but it'll be externalized just you wait, pretty rad having a piece with a place that I've deep ideas of as being aligned somehow with Jack Kerouac, the sort of phenomenology and epistemological creative routes that have a finesse and nobility (however self-visible, and therefore not precisely sainthood earning)...

Don't let the day pass where you might, both of us, snatch a handmade copy of my music immersive lineage of poems Note on Tundra ( for which I think the entire sound blanket of nashville caldwell bongo beef oven house shows bring it back ) + not 1, but the 2 prefaces, out when when when from DoubleCross Press y'all.

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Plus - recently found Lylas=Beach Boys=Elliott Smith=Acetone=Jason Molina=Yo La Tengo=esque Cass Mccombs:

















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A lot of happenings nationally, if you aren't upset, or polarized, you aren't paying attention. KNow thyself I guess, or do the other thing, abolish the self, both go well, toward alleviating everyone else. I've been post it noting my way toward articulating what it is that I think, what it is that I think I feel, that I understand about my leanings, my validity, volumes, space (if I have it, want it need it, rescind it, impose it, detract, deserve). Thick as traffic.


Here's something to read

And here









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Jaqueline Winter Thomas weighs in well on the oral aspect of poetry, on its being read, in the poetry readings, as they are tend to be held - "...as shared acts of silence." (!) And, further, "Sometimes a violation of this silence is justifiable, but, oftentimes, it is not."





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And Chuck Beard has your guide to everything literary at all y'all with his Decemberist's lit planner: Beard on Books.

Upcomings, Searcy, P. Muldoon, SoFest namedrop, E t A l., Note on Tundra proofs in(!)

Zach Searcy, whose work was up as 'Burnin Down The House' an impromptu art show in an unfilled house in East Nashville. 











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Before I forget, made the ( awhile ago now ) Paul Muldoon soundtrack in the slipping past of weeks ago ( Vanderbilt Visiting Writers Series ), that before it slips entirely away, his even, nuanced, inviting reading there should be notes for:



'wanting to be in the experience more than christianity (?), than else/ brogue / so as not to separate from him' /// autonomies jumped, hoarse location /// these poems seem to FADE in on … all .../// inclusive physicality to the reading/reader, moving to the audience, agreement made in this, exchanging, storytelling, performative, bard, call + response, fiery tale, storyteller/ATM /// as one occurs, occurrence as an intrinsic / one is in an occurrence that is automatic //// made/make conduit for foreignness / for pace  /// the THICKNESS of his book of his poems /// DICKEY + OLSON + YEATS /// where the context for silence (of silence?) + prominence - Buckhead - oratorial, exactitude, precision timbres, syncopations of rhyme + finish + singular declarations/proclomation /// WHAT DOES HELL DO? /// WHERE IS OUR LITTLE WAR NOW? /// gentleness /// RIM or BRIM? Rim. /// eulogies for poets that require none'

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The Southern Festival of Books came & went its duration in the poetry-centric manner that I juggled. Extremely ultra mesmerizing points are topped in the foams in my brains - Rebecca Gayle Howell, Patricia Waters, Adam Vines, Ray McManus, Gary McDowell, Jan LaPerle, Bill Brown, Arne Weingart.

Each astounded in their own manner - jarring, suspicious, authoritative - all the good things that require attendance.

Too many notes, I am under my overwhelm.


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Argh: got first proofs back from DoubleCross Press for the lil babe Note on Tundra, due out whenever and at some vanquishing point for myself, promises to keep it real and not vomit in your kitchen sink if I tour behind it or read it all the time.

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Two E t A l. readings in the god book of events, what fun these have been with drinking and talks and seeing everyone and shaking hands and scooting around each other, personal thanks to the poets + artists of them - Hannah Gamble, TJ Jarrett, Lucca Soria, Edwin R. Perry, Jesse Mathison, Marie Claire Bryant, Chelsea Velaga, Alexine Rioux.



I'll keep posted in here on futures of them, which there'll be. Come to Nashville yo.

There's an influx spread that considers among it like omelets, or quiche, or stew perhaps the others that are all going now, readings up near you, by those near you, from people near you - one must leap at these and keep the eyes open for them, because they scatter and are not related. They are not known to be related, but a population shows itself in even the slightest presences.





Novembering literarily inside Nashpo/upcoming:



Like especially this. (DIY Poetry Release Reading, PUJOL [or Pujol(?...)], some Vander)

And this. (Classic East Side Story Event, unyielding to time, endures)

Plus this. (The Regenerates Reading Event @ The Stone Fox, fictions)

Lastly, the structured. (Vander related Poet's Corner)

"...veins, No, // Fists the shapes / in the mouth, / drink rings off police hands…" / all ( Kiln ) at PLINTH + Recent nashpo readings note throw

The entirety of my sweet baby "( Kiln )" cut up entirely as it is breathing nicely in PLINTH innards, the preface, the entire, the father built into it in the prose sections in the beginning middle ( he found his way in with a swooping rad line, catch it ), the autobiographical, the traipsing surreal deviations from my bodily existence, there.


Also, "Black Theatre" which strikes to me outward, Cesaire, Rimbaud.


Check it.










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OK, reading notes. Long winded roll off of observations that I owe to sort out how & what I think about the matter, the makers of them:


End of Septemberish - Poet's Corner, featuring Amy Wright, was an easy, considered, and delightful time. Wright read from her Cracker Sonnets, her first full length collection. I count myself among the very fortunate to have been the recipient of a deft grace that canopies when she reads. Among her reading, several new things began to formulate re: her full-length and her poetics, in general (I remember somewhat her reading last February at Dino's in the first E t A l. Reading, though my nerves were shot and I was excited to be hosting a reading). Some of which are:


Dips/leanings in/to a prose/narrative arc aid in the contextualization of 'poetic' things, which is they are made more stark and reverential when given a curb upon which to rest/differentiate itself;

Amy's cracker pieces were more biscuity than crackery: what seemed natural and inevitable corridors through which air and rest and breath were able to move in more easy fashion carved from language; hungrous eroticism with language; Pavlovian (physiological tied to the emotional/psychological/linguistic);

Connotations of the term 'cracker' had been fought against, though are still present in the text as it is rendered sonically;

Lovely; in terms of a performative syllabics, Wright's pace, texture, attention to alterations in altitude to theme, pedagogy;

An attention to the organic, natural parts of the earth, those not necessarily functional to or dominated by the synthesis-reproductive systems of people are given a respect that resides as a default and unearned by intrinsically present characteristic of life, as are the living things thereat/in/of; the matter of fact unveiling of esoteric, chosen, re-utilization of terms and words that are most connected with, technically correct descriptors of bug and bug-life achieved a repetitive crescendo and roused a sense of surprise and brisk and buoyancy.








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Rad show ( Korean JRU! + Roadblock ) as newer DRKMTTR opens more of itself to the people with more diverse arrangements in social eventry, as in their poetry reading scheduled for OCT 20 with, very arguably, one of the most exciting poetic figures to cruise through to Nashville in recent memory. Boost House founder, vegan, considerate human being, helvetica fiend, & internet poet Steve Roggenbuck. He'll be reading w recent 10,000$ dollar Rattle winner, local poet Tiana Clark + music, somewhere in there.

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Then made the Wyatt Prunty / Nathan Spoon reading as the latest execution of Ciona's Lyrical Brew.

I'd seen Wyatt read previously at Parnassus so knew what was in store, a solid, formalist, traditional, story tipped performance whats ease was matched by the the softening of the the season upon the glass surrounding us in that barista zone; Nathan I had not seen but informally known for some amount of time after seeing him frequently and chatting poetry with him, also at Parnassus. 

Here is the direct, because my eyes are doubling with fatigue, note throw, with perhaps some over arching explanations as to what I was even talking about: 


 A listing, phonemic attention, to nouns + object, of those ready/concrete, imagistic course/nexus;

Phrasal, read as formal upending, augmentation;

Abrupt thrusting "her face wiped" in brevity + syntax (resists the will to explain which = the tendency of over explaining);

"Who knew the bones eternal as they are could be this amorphous?" / Ah: Here is one layering of my perception upon the work: the correlation / proximity between the concrete and the temporary (the physical with the emotional; the known with the uncertain; the universal with the solipsistic). Stone as related to sorrow. This also in relation to, or incorporating, the classic and the contemporary (or the past and the present, the traditionally significant/powerful/stable/masculine with the ineffectual/meek/unstable/ feminine), enacted most vividly in references to classical figures (i.e. Greek figures, gods), this duality (and totality accounted for thereof) also has tinges of Fatalism vs Re-invention (Fate/Will). A trust in a fragment not ever made or working at completion + finality + end.

"Casually wrinkling waters…" / "A too easy assemblage" / A development of the present elegy, elegy of the present ; Offering/supplication (inside the procedure of writing). Among such totalitarian coverage of the singular voice in the poem, does the space of the poem enable an intrinsic potency/volume/significance/hearing (is the poem a hearing? as in trial, a testimony), the permission of the I?




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E t A l. Poetry Reading went magnanimously, no review possible considering I was inside of it, suffice it to say that I was fortunate enough to host Lucca Soria, Hanna Gamble, & TJ Jarrett. Much obliged to them for placing themselves on the line and amping the state of poetry in town.

(How it rendered in ma head a few days prior, drawn as to display the benefits of a non-seated crowd)