Tuesday, November 22, 2005
CONGRATULATIONS TO SHARON OLINKA
who received a Money for Women/ Barbara Deming Memorial Fund award of $1,000 for a selection of poems from her forthcoming Marsh Hawk Press book, The Good City.
who received a Money for Women/ Barbara Deming Memorial Fund award of $1,000 for a selection of poems from her forthcoming Marsh Hawk Press book, The Good City.
Saturday, November 12, 2005
OKIR BLOG MENTIONS MARSH HAWK PRESS POETS!
Jean Vengua comments on Thomas Fink and Stephen Paul Miller in her post today at her Okir Blog. Here's an excerpt:
Saturday, November 12, 2005
The other reason I bought some ink, is because I have received two books by Thomas Fink: Gossip: a book of poems, and After Taxes. Both books are graced with his gorgeous art. And now, as I read the Foreword to Gossip, which includes an exchange between Tom and Stephen Paul Miller, I remember a dream I had last night.
I was lost on a road somewhere near the Carmel/Big-Sur area, and my car stalled. It was so dark that I couldn't read the house numbers or the road signs, which I needed to know in order to call on my cell phone for a tow. Ominously, the radio reported a killer loose in the area. There were people walking about on this dark country road, and most of them were South Asian. Finally I lowered my car window, and tried to ask them for the name of the street. They tried to be helpful, but nobody could understand my question, because I was losing my voice.
Pretty classic dream material. The dream contains pieces from various events in my recent life. Not literally, of course; some of it comes from TV, work, was heard on the radio, etc. And while the "losing my voice" part may seem to be significant, what actually stands out to me is the necessity of naming the street, knowing the numbers, trying to get a fix on my location, in order to be able to communicate.
So this morning, I am mulling over statements [copied below in incomplete and discontinuous form] made by Stephen and Tom in the Foreword to Gossip:
TF: "Poets want to enlarge their scope of understanding but also to mark current limits of what they know, as well as arbitrary contiguities."
SPM: "I think that my distillations are pre-written, a kind of skeleton or hypothesis that has been tussled over within through complicated relationships of deep sleep, dreams, and conscious and nearly unconscious thought..."
TF: Perhaps when one is doing 'automatic writing,' there is some connection between two successive sentences, no matter how unrelated they seem, but I wonder whether the same can be said if one uses chance operations on 'found' texts, or better yet, arbitrarily interspersed 'found texts.'"
I like the ground of optimism there (or maybe it's just observation). The thought that a connection exists, or that, at least, there is the play, or struggle, even in dreams, to understand. So...I buy ink. The colors run out and cover the paper, which later i will tear up and reposition across other pieces of paper. I will read these books - and the words will certainly find imprint in a dream or two, or three; for example, this, from Thomas Fink's Gossip:
SURPLUS VALVE
We're easy to ignore
because there are so many of us.
The wind is proof.
Poof.
Every year,
one bores
an old bud,
is capsized
from a Rolodex,
and every other,
a new one
turns up behind an awning.
Jean Vengua comments on Thomas Fink and Stephen Paul Miller in her post today at her Okir Blog. Here's an excerpt:
Saturday, November 12, 2005
The other reason I bought some ink, is because I have received two books by Thomas Fink: Gossip: a book of poems, and After Taxes. Both books are graced with his gorgeous art. And now, as I read the Foreword to Gossip, which includes an exchange between Tom and Stephen Paul Miller, I remember a dream I had last night.
I was lost on a road somewhere near the Carmel/Big-Sur area, and my car stalled. It was so dark that I couldn't read the house numbers or the road signs, which I needed to know in order to call on my cell phone for a tow. Ominously, the radio reported a killer loose in the area. There were people walking about on this dark country road, and most of them were South Asian. Finally I lowered my car window, and tried to ask them for the name of the street. They tried to be helpful, but nobody could understand my question, because I was losing my voice.
Pretty classic dream material. The dream contains pieces from various events in my recent life. Not literally, of course; some of it comes from TV, work, was heard on the radio, etc. And while the "losing my voice" part may seem to be significant, what actually stands out to me is the necessity of naming the street, knowing the numbers, trying to get a fix on my location, in order to be able to communicate.
So this morning, I am mulling over statements [copied below in incomplete and discontinuous form] made by Stephen and Tom in the Foreword to Gossip:
TF: "Poets want to enlarge their scope of understanding but also to mark current limits of what they know, as well as arbitrary contiguities."
SPM: "I think that my distillations are pre-written, a kind of skeleton or hypothesis that has been tussled over within through complicated relationships of deep sleep, dreams, and conscious and nearly unconscious thought..."
TF: Perhaps when one is doing 'automatic writing,' there is some connection between two successive sentences, no matter how unrelated they seem, but I wonder whether the same can be said if one uses chance operations on 'found' texts, or better yet, arbitrarily interspersed 'found texts.'"
I like the ground of optimism there (or maybe it's just observation). The thought that a connection exists, or that, at least, there is the play, or struggle, even in dreams, to understand. So...I buy ink. The colors run out and cover the paper, which later i will tear up and reposition across other pieces of paper. I will read these books - and the words will certainly find imprint in a dream or two, or three; for example, this, from Thomas Fink's Gossip:
SURPLUS VALVE
We're easy to ignore
because there are so many of us.
The wind is proof.
Poof.
Every year,
one bores
an old bud,
is capsized
from a Rolodex,
and every other,
a new one
turns up behind an awning.
Monday, November 07, 2005
A PATRICIA CARLIN POEM DEBUTS ON THE RADIO!
Marion Roach will be reading Patricia Carlin's poem "The Wild Turkeys" (from her Marsh Hawk book, ORIGINAL GREEN) on Roach's debut show, "The Naturalist's Datebook." It will air during the week of Nov. 21, on the new Martha Stewart Radio network, on Sirius radio.
Marion Roach will be reading Patricia Carlin's poem "The Wild Turkeys" (from her Marsh Hawk book, ORIGINAL GREEN) on Roach's debut show, "The Naturalist's Datebook." It will air during the week of Nov. 21, on the new Martha Stewart Radio network, on Sirius radio.
Friday, November 04, 2005
EILEEN TABIOS RECEIVES "CALATAGAN" AWARD
Eileen Tabios' I TAKE THEE, ENGLISH, FOR MY BELOVED is one of her four books that will be recognized this weekend with a Calatagan Award from the Philippine American Writers & Artists, a Northern California-based nonprofit arts group.
Information on the Awards Festivities, free admission to the public, below:
PAWA, Inc.
invites you to the second biennial
Calatagan Awards Night
Saturday, November 5, 2005
7:00 P.M.
at the Randall Museum Theater
199 Museum Way, San Francisco, California
featuring
Lucia Bayona, singer
Florante Aguilar, guitarist
and
the Hiyas Philippine Folk Dance Company
performing
Maria Clara, Pakaraguian and Barrio Fiesta suites
accompanied by the Hiyas Music Ensemble.
Refreshments and book displays will follow the program.
This event sponsored by PAWA, Inc. is free.
Although not necessary, please e-mail: pawa@pawainc.com if you plan to attend and indicate the number of people you will be with.
Eileen Tabios' I TAKE THEE, ENGLISH, FOR MY BELOVED is one of her four books that will be recognized this weekend with a Calatagan Award from the Philippine American Writers & Artists, a Northern California-based nonprofit arts group.
Information on the Awards Festivities, free admission to the public, below:
PAWA, Inc.
invites you to the second biennial
Calatagan Awards Night
Saturday, November 5, 2005
7:00 P.M.
at the Randall Museum Theater
199 Museum Way, San Francisco, California
featuring
Lucia Bayona, singer
Florante Aguilar, guitarist
and
the Hiyas Philippine Folk Dance Company
performing
Maria Clara, Pakaraguian and Barrio Fiesta suites
accompanied by the Hiyas Music Ensemble.
Refreshments and book displays will follow the program.
This event sponsored by PAWA, Inc. is free.
Although not necessary, please e-mail: pawa@pawainc.com if you plan to attend and indicate the number of people you will be with.
Thursday, November 03, 2005
MADELINE TIGER TO READ AT CODY'S
in Berkeley, CA on Sunday, Nov. 20th at 7:30 P.M. Madeline will read with F.D. Reeve, the well-known poet and scholar.
in Berkeley, CA on Sunday, Nov. 20th at 7:30 P.M. Madeline will read with F.D. Reeve, the well-known poet and scholar.
THE SWORD REVIEW INTERVIEWS EILEEN TABIOS
"By choosing to be inspired by non-literary forms, I feel that my literary works end up being more surprising within the literary arena. And because the other non-literary forums are typically areas in which I have zero or very little expertise, it also allows me to grow more and grow less predictably as a person/artist."
--Eileen Tabios
Eileen Tabios' latest interview in THE SWORD REVIEW touches on why she is inspired by the visual arts as well as her books, including those released by Marsh Hawk Press.
The interview is conducted by Netherlands-based writer Rochita Loenen-Ruiz.
"By choosing to be inspired by non-literary forms, I feel that my literary works end up being more surprising within the literary arena. And because the other non-literary forums are typically areas in which I have zero or very little expertise, it also allows me to grow more and grow less predictably as a person/artist."
--Eileen Tabios
Eileen Tabios' latest interview in THE SWORD REVIEW touches on why she is inspired by the visual arts as well as her books, including those released by Marsh Hawk Press.
The interview is conducted by Netherlands-based writer Rochita Loenen-Ruiz.
