[Local events] Spare Room: margareta waterman, Sunday 2/12/06,
passages at rdrop.com
Mon Feb 6 01:08:40 PST 2006
Spare Room Reading Series &
nine muses books
/iteration: poems 1974-2004/ margareta waterman
book release celebration and reading
Sunday, February 12th
New American Art Union
922 SE Ankeny Street
spareroom at flim.com
February 26 Alan Halsey, Geraldine Monk, & Martin Corless-Smith
March 5 Jonathan Brannen & TBA
April 15 Dan Raphael presents Poetland: 100 Portland Poets in 10 Venues
April 23 Joshua Clover & Cynthia Kimball
May 21 Crag Hill and Mark Owens
/i am not a poet because i write poetry
i am a poet because
is grist for the mill
that grinds me into illumination
so that only words are left
whether i like it or not
She has a way of taking command of her lines with a distinctive
assurance that is not only generous, as she fills the cadences with
enlivening and revelatory inflection, but also demanding, as twists of
her phrasings most reward those who pay attention. . . . as the thirty
year career represented here demonstrates, writers do well to take
responsibility for seeing their work through from conception to
publication, in performance and in print. . . .
She has presented her work in Seattle venues . . . and traveled the
country with it extensively: standing behind podiums, rocking and roving
barefoot around the stage and through the aisles, and singing and
chanting in performances that combine words and music. . . .
Although just one entire musical performance, "now and other
times," a collaboration with Stephen Fandrich, appears in these pages,
music infuses waterman's work. Rather than regular rhyme or meter, she
seems to rely on an innate sense of rhythm to drive these poems, a
rhythm that arises naturally, as it were, from her voice . . . Line
breaks that create short, sharply tuned phrases or phrases that play off
common locutions, and repetition of certain lines help set the tempo . . .
In these thirty years' worth of selections, the voices of lovers
and gods, of protestors and travelers, of those who suffer and those who
triumph may sing, yowl, whisper, and harangue, as her self, an aspect of
herself, or in character of someone else altogether. . . .
Whether grouped in more or less traditional stanza-like clumps or
set in parallel columns with italics setting off some sections, her
lines read as scripts, with keys for emphases and pauses. Her tendency
to take the part of gods and goddesses as she explores classical themes,
her forthright sexual imagery, and her political barrages all have a
certain confidence about them: this is a woman who is used to calling
the shots. . . .
By presenting her work again in this format, outside of earlier
contexts, waterman gives it a new and different look, particularly since
she has, to cite the mathematics definition of iteration, applied
herself to achieving a desired result by repeating a sequence of steps,
always getting closer, in a quest that never ends."
from the Introduction by Doug Nufer
the process is holographical. a poem comes. i read it. it speaks to me.
to gather some poems for a reading or a book creates a further song, a
meta-text. to vary the elements or even the order varies the meta-text.
trying to gather correctly, truthfully, from a lifetime of poems, i find
a landscape of expandable dimensions, a meta-space, familiar, without
definition. somehow intrinsic. implicit, corollary.
and so i chose to make this book a general survey of my characteristic
landscapes. i tried not to leave out essential elements of the fractal
image i seem to have drawn, despite the uneven quality of the poems. it
is not my skills and talents that i mean to exhibit, but the visions
they are indentured to.
from the author's /apologia
iteration: poems 1974-2004 /
nine muses books isbn 1-878888-45-5 232 pages, decorated in gold and
special celebration price $18
(for mail orders: add $2 for postage and make check payable to margareta
nine muses books nine muses mystery theatre
3541 kent creek road
winston, oregon 97496
*nine muses is a non-profit artists' collective. the design of each book
is seen as a further step in the same creative process as produced the
writings. performance poets used to working with painters dancers and
musicians extend to the printed book some of the qualities of live
multi-media performance; a blending of the poet's and the painter's eye
gives the books an unusual degree of visual interest and beauty.
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