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Subject: [Spare Room Press Release] Reminder: Mark Salerno and Tom Fisher,
	Sunday 4/17
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Spare Room Reading Series presents . . .


Mark Salerno

Tom Fisher


Sunday, April 17th
7:30 pm

New American Art Union
922 SE Ankeny Street
$5 suggested donation.

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

*May 5 Eric Baus and Ashley Edwards*
May 22 Charles Alexander and Todd Baron
tba Sarah Mangold and Gale Czerski

------

Mark Salerno was born in New York City in 1956. He is the author of Hate 
(96 Tears, 1995), Method (Figures, 2002), and So One Could Have (Red 
Hen, 2004). From 1993 to 1999, he edited Arshile: A Magazine of the 
Arts. His poems have appeared in many journals, including Chicago 
Review, Denver Quarterly, Exquisite Corpse, and Zzyzzyva. He lives in 
Los Angeles.

Tom Fisher's writing has appeared in LVNG, Delmar, The Culture Society, 
and Chicago Review. He teaches in the University Studies Program at 
Portland State University. He has lived in Portland some five years now.

------


Coda

Sky high into the mile high or sky up
she said nice little town you got here
sheriff with eyes on the stranger logic
wanted the big hit the big grab and skip
over the border it’s a helluva country
to be modern in cottonwoods and damp cuffs
a building falls down but the sky stays put
pinned to its place with apologies to
those who mourn for chicken in a chicken
restaurant I missed you at lights out
O list of words you seem real to me
wading a little in this warm bath of light
the sheriff remains isolated but sticks
and thing fall from the flawless sky.

-- Mark Salerno



“wolf-children”

only a bare life

on bare land to
begin an aping

to become like ourselves
to know this own difference

to take place without a face
and parrot, mutus, the howl
or growl that words scratch under

“this is us”
unable to be unclaimed.

to insist itself as not itself
as the roots of self are not in
mouth or mind

but are nowhere or
are only
along the longest body
of animal.

-- Tom Fisher

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Greetings.

This is a list for press releases from the Spare Room reading series. 
Announcements are infrequent, typically once or twice a month.

This is an announcement-only list; it is not possible to post to the list.

Correspondence concerning the list can be sent to me directly at 
passages@rdrop.com. If you would like to be removed from the list, 
please let me know and I'll be happy to oblige.

Thank you very much,

David Abel
for Spare Room

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Subject: [Spare Room Press Release] Eric Baus and Ashley Edwards Thursday
	May 5th
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Spare Room Reading Series presents . . .

Eric Baus

Ashley Edwards

Thursday, May 5th
7:30 pm

New American Art Union
922 SE Ankeny Street
$5 suggested donation.

www.flim.com/spareroom
spareroom@flim.com

Upcoming readings:

May 22 Charles Alexander and Todd Baron
tba Sarah Mangold and Gale Czerski

Bios:

Eric Baus is the author of The To Sound (Verse Press) as well as a new
chapbook, Something Else The Music Was (Braincase Press). His poems
have appeared in FO A RM , Hambone, 3rd Bed, First Intensity, and
elsewhere. He currently lives in Northampton, MA.

Ashley Edwards is a poet and independent scholar, as well as a native
Arkansan who fled to Portland five years ago to attend Reed College,
where she received her B.A. in English. She enjoys animal behavior,
Utopian literature, phallic flowers, Russian film, the poems of Anne
Carson, and secret societies. She hopes to one day be an archivist and
perhaps a chef.

*

When the somnambulist went back to sleep

he did so with an incomplete knowledge of the incendiary vocabulary of snails.

He asked to be called "peristalsis." I said "phosphorus."

With the gift of slowness came other offerings. Seeds burning in a
belly. Handfuls of sugar untouched in an abdomen.

He showed me how to extract heat from electrical outlets. I spent the
extra money on sunglasses.

His was not a stillness. He subscribed to the motion picture theory of
stasis. Each word a frozen flame.

I could stay up for days enumerating the movements in his eyelids.

The pain in my sheets won't go away.

I am caught in him like a moment of sodium.

Eric Baus

*

>From "Eventide"

Break in, eventide.
Come in,

even-tide,

against turfs of alphabets
and manuscripts forgetting.

Mangled landscape,
cup of islands,
all of life is locked.

Like sisters lost in
the beach's brow,
the landscape splatters
northward.

Ashley Edwards


From passages@rdrop.com Thu May 12 11:38:40 2005
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Spare Room Reading Series presents . . .

Charles Alexander

Joseph Bradshaw

Sunday, May 22nd
7:30 pm

New American Art Union
922 SE Ankeny Street
$5 suggested donation.

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

July 2 Christian Bok -- Solo Sound Poetry Performance
July 17 Joanna Fuhrman and Jeffrey Lee
August 20 Sarah Mangold and Gale Czerski


Bios:

Charles Alexander’s books of poetry include Hopeful Buildings, arc of 
light / dark matter, and Near or Random Acts; Certain Slants is 
forthcoming. He founded, directs, and is book artist at Chax Press, 
publisher of poetry and artists’ books, in Tucson, Arizona. (For more 
information about this important and fiercely independent small press, 
visit www.chax.org.) He teaches at the University of Arizona Poetry 
Center, Pima Community College, and Naropa University.

Joseph Bradshaw was born in 1979 in a hospital in Idaho. Since then he 
has moved out of the hospital and currently lives in Portland, where he 
co-edits FO A RM Magazine and anticipates rejection letters from other 
magazines daily. He is a member of the Spare Room reading series 
organizing cabal.


**


every pattern has a chaos

and chaos has a plan

for tea in the afternoon

and sex in the morning

regular like ticking until

a tree falls through the

wall and into our life


from Near or Random Acts
by Charles Alexander




Behind my mustache
you couldn't hear the chirping from the alley
and the slurping I made as I sucked
the pits of your mangos
and they were even more delicious than
your old disguises, the squirting lapel flower
or the bathtub you filled up with toasters
and after you emptied my shaving kit
you couldn't find your body in the glass, being
stopped in every direction by something invisible
I could see your face smashed from the other side
all color draining out as the skin struggled
for oxygen, wondering why
streaks of snot and saliva just hung in the air
like that, why your face is so
wet when there's no sweat, no panic
and hardly ever a reason to rhyme
someone else with yourself
or danger with yellow.

Joseph Bradshaw





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Spare Room presents . . .


*Christian Bök*


Saturday, July 2nd
7:30 pm

New American Art Union
922 SE Ankeny Street

*$5-15 sliding scale*

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

July 17 Joanna Fuhrman and Jeffrey Lee
August 20 Sarah Mangold and Gale Czerski

and, in the fall (dates to be announced):

* Joshua Beckman, Paul Naylor, and others
* Publication party for the Oregon coast anthology, Salt
* Jackson Mac Low memorial/tribute


====================================


Renowned Canadian author, artist, linguist, and virtuoso sound poet 
Christian Bök
will make a rare appearance in Portland on Saturday, July 2nd, 2005.

Christian Bök is the author not only of Crystallography (Coach House 
Press, 1994),
a pataphysical encyclopedia nominated for the Gerald Lampert Memorial 
Award,
but also of Eunoia (Coach House Press, 2001), a work of experimental 
literature
that has become a Canadian bestseller, and which has gone on to win the
Griffin Prize for Poetic Excellence. Bök has created artificial 
languages for two television
shows (Gene Roddenberry’s Earth: Final Conflict and Peter Benchley’s 
Amazon),
earned global recognition for his virtuoso performances of sound poetry 
(particularly
the Ursonate by Kurt Schwitters), and has exhibited conceptual artworks 
at the
Marianne Boesky Gallery in New York (including books built out of 
Rubik’s cubes
and Lego bricks). Bök is currently a Professor of English at the 
University of Calgary.

Christian Bök’s contribution to the Spare Room reading series will be 
far from ordinary.
His linguistic contortions not only generate sounds unfamiliar to the 
ear, they also exhibit an
exhaustive contemplation of the limits of language. (His poem “And 
Sometimes,” for example,
is a high-speed articulation of every English word that does not contain 
the vowels a, e, i, o, and u).

Bök states, “Whatever kind of research or experimental activity I’m 
indulging in is totally
informed by a playful and whimsical dimension. It’s supposed to be fun, 
interesting,
and stimulating.” Although his speech sounds range from a sputtering 
motor to an alien
hymn, the content is also literary. Spare Room invites you to a night 
with “a Dada bard as daft as Tzara.”

To hear performances by Christian Bök, and for additional 
bio/bibliographical information
and links to his writings, please see the Christian Bök author pages at
PennSound (www.writing.upenn.edu/pennsound/x/Bok.html), and at the
Electronic Poetry Center (http://epc.buffalo.edu/authors/bok).



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Spare Room presents . . .


the indescribable, inimitable, unforgettable


*Christian Bök*


Saturday, July 2nd
7:30 pm

New American Art Union
922 SE Ankeny Street

*$5-15 sliding scale*

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

July 17 Joanna Fuhrman and Jeffrey Lee
August 20 Sarah Mangold and Gale Czerski

and, in the fall (dates to be announced):

* Joshua Beckman, Paul Naylor, and others
* Publication party for the Oregon coast anthology, Salt
* Jackson Mac Low memorial/tribute


====================================


Renowned Canadian author, artist, linguist, and virtuoso sound poet 
Christian Bök
will make a rare appearance in Portland on Saturday, July 2nd, 2005.

Christian Bök is the author not only of Crystallography (Coach House 
Press, 1994),
a pataphysical encyclopedia nominated for the Gerald Lampert Memorial 
Award,
but also of Eunoia (Coach House Press, 2001), a work of experimental 
literature
that has become a Canadian bestseller, and which has gone on to win the
Griffin Prize for Poetic Excellence. Bök has created artificial 
languages for two television
shows (Gene Roddenberry’s Earth: Final Conflict and Peter Benchley’s 
Amazon),
earned global recognition for his virtuoso performances of sound poetry 
(particularly
the Ursonate by Kurt Schwitters), and has exhibited conceptual artworks 
at the
Marianne Boesky Gallery in New York (including books built out of 
Rubik’s cubes
and Lego bricks). Bök is currently a Professor of English at the 
University of Calgary.

Christian Bök’s contribution to the Spare Room reading series will be 
far from ordinary.
His linguistic contortions not only generate sounds unfamiliar to the 
ear, they also exhibit an
exhaustive contemplation of the limits of language. (His poem “And 
Sometimes,” for example,
is a high-speed articulation of every English word that does not contain 
the vowels a, e, i, o, and u).

Bök states, “Whatever kind of research or experimental activity I’m 
indulging in is totally
informed by a playful and whimsical dimension. It’s supposed to be fun, 
interesting,
and stimulating.” Although his speech sounds range from a sputtering 
motor to an alien
hymn, the content is also literary. Spare Room invites you to a night 
with “a Dada bard as daft as Tzara.”

To hear performances by Christian Bök, and for additional 
bio/bibliographical information
and links to his writings, please see the Christian Bök author pages at
PennSound (www.writing.upenn.edu/pennsound/x/Bok.html), and at the
Electronic Poetry Center (http://epc.buffalo.edu/authors/bok).

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Spare Room Reading Series presents . . .


Joanna Fuhrman

Jeffrey Lee


Sunday, July 17th
7:30 pm

New American Art Union
922 SE Ankeny Street
$5 suggested donation.

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:
 
August 20 Sarah Mangold and Gale Czerski

Fall schedule (dates to be announced):

* Joshua Beckman, Paul Naylor, David McAleavy, and others
* Publication party for the Oregon coast anthology, Salt
* Jackson Mac Low memorial/tribute


==============================================================


Bios:


Visiting all the way from Brooklyn, Joanna Fuhrman is the author of two
books of poetry published by Hanging Loose Press, Freud in Brooklyn (2000)
and Ugh Ugh Ocean (2003). Her third book, Moraine, is forthcoming early 
next
year. Her poems have appeared in New American Writing, Lit, Fence, The 
Germ,
and other journals and anthologies. From 2001-03, she was the curator of 
the
Monday night readings at the Poetry Project at Saint Mark's Church. Even 
though
she once lived in Seattle, this is her first trip to Portland.


Jeffrey Lee is a writer and bookdealer living in Albuquerque, New Mexico.
The proprietor of Crane's Bill Books, and the publisher of the broadside 
and
chapbook series Crane Papers, he has also been a staff writer for the 
Weekly Alibi.
In October  he will be curating a land/language exhibition at THE 
LAND/an art site,
an outdoor exhibition space near Mountainair, NM, devoted to site-specific,
environmentally low-impact, land-based art.





The Shaman Figurine Car Ornament Explains the Accident then Naps

We were lured by color:
the only periwinkle left
in the decomposing empire,
I mean, restaurant,
so we opened it--
allowed a light to circumnavigate
the dancer's limb, allowed
a margin to expand,
past the fleshy cylinder,
back to the migrating parts.

   -- Joanna Fuhrman




Éventail (de Mme. Mallarmé)

Tent Injures Opera Hat With Scepter of Pink Deviations . . .   
Stagnating sours
the ballast of selection under the plangent hum of a subtitle.  Kindly 
beat the future
with codicils that purchase with each grain a little invisible furnace 
of niter
for personnel or a large empty space feigning the Voice of Firestone to 
avoid
the enmity of a bracelet, while a mime cowers behind a mirror, refusing 
a parcel.

   -- Jeffrey Lee








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Subject: [Spare Room Press Release] September preview
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Here are short notes about three literary events in September . . .
as they say, mark your calendar!


+ - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + -


Friday 9/2, 7:30 pm, $5
Pulliam Deffenbaugh Gallery
522 NW 12th
seating limited -- doors open at 7:00

S.F. Poets Theatre

Kevin Killian (playwright, poet, co-author of biography of Jack Spicer, 
etc.)
presents the play
The Red and the Green
in collaboration with Karla Milosevich;
also, short readings by Bay Area writers
Dodie Bellamy, Jocelyn Saidenberg,
Larry Rinder, and Elaine Smith

presented in conjunction with the exhibition "Bay Area Bazaar"
curated by Laurie Reid, which opens on First Thursday, 9/1
www.pulliamdeffenbaugh.com/Shows-Detail.cfm?ShowsID=71


+ - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + -


Monday 9/12, 7:00 pm, free
Borders downtown, in the cafe
708 SW 3rd

I Love Monday! Poetry night
David Abel, Lisa Steinman, Jeff Jensen

Dan Raphael's monthly series, entering its second decade, I think?
www.bordersstores.com/events/event_detail.jsp?SEID=47428


+ - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + -


Sunday 9/25, 7:00 pm, free
Portland Art Center
2045 SE Belmont

SALT: A Collection of Poetry on the Oregon Coast
Reading and publication party for the recently released anthology,
edited by Amanda Deutch

Short readings, food, drink, music, vintage slides --
a guaranteed good time.

Cosponsored by Spare Room,
Portland Art Center, and Nestucca Spit Press.

Readers will include Maryrose Larkin, Alicia Cohen,
Endi Hartigan, Leonard Schwartz, Zhang Er,
Leanne Grabel, & David Abel.

Full details to come soon.
www.flim.com/spareroom












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Date: Thu, 08 Sep 2005 00:16:38 -0700
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Subject: [Spare Room Press Release] Publication Party & Reading for Salt
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This is a multi-part message in MIME format.
--------------020605090704040202020902
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FOR IMMEDIATE RELEASE


Spare Room,
   Portland Art Center, &
      Nestucca Spit Press

   present

A Publication Party & Reading for

Salt: A Collection of Poetry on the Oregon Coast

  * Short readings by poets featured in the anthology
  * Music by John Berendzen & the Parametric Orchestra
  * Food & Drink

Sunday, September 25
7:00 - 10:00 pm
free admission

Portland Art Center
2045 SE Belmont Street
503-239-5481
http://www.portlandart.org

in conjunction with the exhibition
Natura Naturans
by James Jack

For more information, contact: Amanda Deutch, trafficlotus@msn.com


Upcoming Spare Room readings (at New American Art Union):

October 23: Paul Naylor and Endi Hartigan
November 6: Joshua Beckman and Geoffrey Nutter
December 11: David McAleavey and TBA

http://www.flim.com/spareroom
http://spareroom@flim.com

==============================================================

Please join Spare Room in celebrating the publication of Salt: A 
Collection of Poetry on the Oregon Coast, edited by Amanda Deutch, and 
published by Nestucca Spit Press of Pacific City.

A number of poets whose work appears in the anthology will give brief 
readings, in three sets spaced throughout the evening. (Readers will 
include David Abel, Alicia Cohen, Zhang Er, Leanne Grabel, Endi 
Hartigan, Maryrose Larkin, and Leonard Schwartz.)

John Berendzen & the Parametric Orchestra will perform excerpts from 
their work in progress, Standing Wave.

The reading and publication party coincides with James Jack's exhibition 
Natura Naturans. James Jack creates ephemeral installations and works on 
paper that use natural materials from the environment. In the case of 
this installation, which occupies the floor of the main gallery of 
Portland Art Center, the material is ochre gathered on the Oregon Coast, 
ground to a fine powder and used simultaneously as pigment and 
structure. The exhibition will be on view during the event.

Salt: A Collection of Poetry on the Oregon Coast features responses by 
thirty-two poets to a single location. (See complete list of 
contributors at the end of this message.) Published this year by 
Nestucca Spit Press (http://www.nestuccaspitpress.com), the anthology 
will be available for purchase at the publication party, and can also be 
found in most local bookstores.

 From the editor's preface:

"The voices in these pages reflect the diversity of influence Oregon has 
exerted on American poetry over many decades -- from the Beat, Zen 
priest Philip Whalen and the "pure guts" Olympic runner Steve 
Prefontaine to pacifists, boxers, Pulitzer Prize-winning 
environmentalists, experimental language poets, commercial fishermen, 
and waitresses.

"What connects these vivid, disparate voices is a location, above all 
else. While the way we see a place, our relationship to it, and our 
experiences with it are always shifting, the place itself remains 
relatively fixed. Over time, rock faces erode, trees are clear-cut, new 
trees are planted, and capes shear down as ancient chunks fall off into 
the sea. But the place endures. We are the ones who change."


For more information, contact Amanda Deutch at trafficlotus@msn.com

Complete list of contributors to Salt: A Collection of Poetry on the 
Oregon Coast:

Gary Snyder
William Stafford
Philip Whalen
William Everson
James Beard
Lloyd Reynolds
Olga Broumas
Anthony Ostroff
Kim Stafford
Margaret Chula
Leanne Grabel
Maryrose Larkin
David Memmott
Leonard Schwartz
Travis Champ
Dorothy Blackcrow Mack
Amanda Deutch
Lorraine Kunigsky
Charles Ghigna
David Pickering
Endi Hartigan
Alicia Cohen
Scott T. Starbuck
Abram Goldman-Armstrong
Lilian Gael
Matt Sorenson
Melissa Madenski
Donna K. Wright
Carol Frischmann
Zhang Er
David Abel
Erika Staiti


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--------------020605090704040202020902--

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Subject: [Spare Room Press Release] 
	Paul Naylor & Endi Hartigan, Sunday 10/23
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Spare Room Reading Series presents . . .


Paul Naylor

Endi Hartigan


Sunday, October 23rd
7:30 pm

New American Art Union
922 SE Ankeny Street
$5 suggested donation.


www.flim.com/spareroom
spareroom@flim.com


UPCOMING READINGS
(Sundays at 7:30 pm, at New American Art Union)

November 6
Joshua Beckman and Geoffrey Nutter

November 27
Jack Collom and Dan Raphael

December 11
David McAleavey and Chuck Stebelton


==============================================================


Bios:

Paul Naylor is the author of two full-length books of poetry, Playing 
Well with Others (Singing Horse, 2004) and Arranging Nature (Chax, 
2005), as well as Poetic Investigations: Singing the Holes in History 
(Northwestern University, 1999), a critical study of five contemporary 
poets. Naylor has taught literature and philosophy at Kalamazoo College, 
University of Memphis, and University of California, San Diego. Formerly 
the editor of River City: A Journal of Contemporary Culture and 
co-editor of Facture: A Journal of Poetry and Poetics, he became 
director of Singing Horse Press in the summer of 2004.


Endi Hartigan's poetry has been published in Caveat Lector, The Antioch 
Review, Salt (anthology), Northwest Review, Hubbub, and other magazines, 
and is forthcoming in Insurance. She is editor and co-founder of 
Spectaculum, an annual journal devoted to poetic works that are best 
presented at length (www.spectaculum-press.com). She lives in Portland 
with her husband and son.



from Arranging Nature

Part 2: 1


Condense and collapse, cloud in cloud, an
embryonic sun forms nebula, forms gas accretes
and gathers in turbulent swirling birth.

So composed of starroot, Earth hurtles through
firmament.

Home sweet home—a cold rock compiled of
iron, silicon, magnesium, aluminum, and oxygen.

What a thought we once had, just before dawn,
the sun a rumor soon to be fact.

Was it a garden we recalled or a night so dark
death would mean reprieve? Was it of a snake
hissing or of one become two, thickening the
plot?


-- Paul Naylor



The Third Thing (excerpt)


The third thing as the grass,
not the multitude of grasses.
A completion that was singular in nature as a nation is singular
and worse for it.

Someone proclaimed to the stiff eel grass they were right all along
because they were charged with the clearing.
A completion as tentative as clouds which must be announced
and announced toward formation.

A man in the marsh grass unlodging his boat, a man in the marsh grass
leaning and pushing through silt,
a man in the marsh grass starting to skim
through the shallow.

The dream of completion continually dreamed,
continually singular and receding,
Here, I thought, in the act that leaves
the chest gasping, depleted;

Here, in the lifting of feet up and forward through nettles.
The multitude of grasses used to weave a hat
for the old man unmoved by completion.
The multitude of grasses through which

a girl discovers the shivering fields, hopping off stones
beside a white bull. A woman burned herself up in the wind of a hill
in the whipping grasses for reasons unknown
that return, not a source--

And I am receding and moving,
I cannot remain matched to the heavens.
Someone proclaimed we are hearing ourselves in the splash of the field
and only ourselves.

Someone proclaimed I am weaving the hat made of corn silk
and torn flags and rain.
Or, what good is the hat?
Or, what good is the weaving for sake of the weaving?
. . .


-- Endi Hartigan




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Spare Room Reading Series presents . . .

Jack Collom

Dan Raphael

Sunday, November 27th
7:30 pm

New American Art Union
922 SE Ankeny Street
$5 suggested donation.

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

December 11  
David McAleavey & Chuck Stebelton

Winter scheduled TBA


============================================


Jack Collom teaches ecology-poetics and oversees Project Outreach at the 
Jack Kerouac School of Disembodied Poetics, where he has been resident 
faculty for over a decade. A prolific writer, he has been published in 
over a hundred magazines and anthologies in the United States and 
abroad. His books include Arguing With Something Plato Said, The Task, 
and Entering the City. He has worked extensively with the Teachers and 
Writers Collaborative in New York City and published his ars poetica on 
teaching poetry, Moving Windows, under their aegis. He has twice been 
awarded a National Endowment for the Arts Fellowship. Red Car Goes By (a 
selected poems 1955-2000) is published by Tuumba Press.  Jack Collom 
lives in Boulder CO.

Dan Raphael writes:
"What can I say here to entice you to come hear me read? I'm not sure 
how a list of books I've published (fifteen of them, including When a 
Flying City Falls, Greatest Hits, and Showing Light a Good Time), or of 
magazines or websistes where my poems have appeared will incline you to 
come hear me. I have a good performance track record--Bumbershoot, 
Wordstock, Powell's, Reed College, Burning Word, Seattle Poetry 
Festival, Silverton Poetry Festival, Portland Community College, the 
Super Bowl of Poetry, KBOO, and Portland Cable Access. Especially like 
working with musicians, which I've done w/ Salon des Refuse, Dave 
Captein, and Glenn Moore."


============================================


12-24-94

Crazy writings on the mottled, lighted sky,
Romantic slate, are trees, bare, ruined choirs
Perhaps but also branch essentials. Why
Question their configures, their live wires
To us all, this morning? Sheer potential
Holds the sky in fragments -- actualized
In rough, black bark. Eftsoons torrential
Sap will climb, and all be notarized.
Before I rose I spotted out my skylight,
By chance of space, just cast in arms of sumac,
Star-triangle marked on morning twilight,
Attenuate, a turn I took as runic.
It's not the thinness, much, that makes it "mine";
It's more the variation (angle, line).

                      Jack Collom



at night the street is more like my skin
my bones feel like fire escapes -- stretched   counterbalanced
            always requiring a leap to exit or enter --
i have an inner fear that prevents me from jumping into water
though i swim well enough its been so long i may no longer float
as water at night is less buoyant    hungrier     with a mind of its own
when all its natural outlets have closed til dawn
i dive off the pier like a cross between an owl and a pelican,
barely flapping,    barely a legs length from the surface,
with just one chance to impale the slippery answer
cause aroma is too long a book -- i need the quicker hit, the high speed 
unraveling,
as water always takes, is always sampling    saving    accumulating
in order to clone everything we do to it, sending a rain of our excess 
and industry

                    Dan Raphael (from Black Medicine)






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Spare Room Reading Series presents . . .

David McAleavey

Chuck Stebelton

Sunday, December 11th
7:30 pm

New American Art Union
922 SE Ankeny Street
$5 suggested donation.

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

January 22 Cat Tyc & Cynthia Nelson
February 12 Margareta Waterman publication party
February 26 Alan Halsey, Geraldine Monk, Martin Corless-Smith
March TBA
April 23 Joshua Clover & Cynthia Kimball

============================================

David McAleavey, originally from Kansas, attended Cornell, then went to 
UC Berkeley to begin a PhD in
English, in 1968. Got to know Ron Silliman, David Melnick, and other 
poets. Dropped out of grad school, worked in SF, then returned to 
Ithaca, NY where he earned both an MFA and a PhD (dissertation on George 
Oppen). Also got involved in Ithaca House press, which published first 
books by Ron Silliman, David Melnick, and Bob Perelman, among others. He 
published his first book of poems, Sterling 403, in 1971, and began 
teaching at George Washington University in 1974. Other books include 
The Forty Days (1975), Shrine, Shelter, Cave (1980), and Holding 
Obsidian (1985). Chax Press published Huge Haiku this year.

Chuck Stebelton works as Literary Program Manager at Woodland Pattern 
Book Center, a non-profit arts organization in Milwaukee, and co-curates 
the Myopic Poetry Series, a weekly series of readings and occasional 
talks at Myopic Books in Chicago. He is the author of Circulation 
Flowers (Tougher Disguises, 2005) and Precious, an Answer Tag chapbook. 
Newer work appears in recent issues of Antennae, Jubilat, LVNG, Verse, 
and Chain 12: Facts. In June, 2005, along with Marcella Durand, Kristin 
Prevallet, Rich O’Russa and Kimberly Lyons, he read his work as part of 
the Inspiration of Astronomical Phenomena conference at Adler 
Planetarium in Chicago; and recently collaborated with Cindy Loehr on 
Revival, "a cathedral of flame with a pre-recorded oration inside."

============================================


Written Next to a Page of Emerson

You should empower all the voices, since
what is strong enough makes a pattern of itself.
The sound of a line can make the next line easy.

Or thought can: further down you'll find
clear streams connecting unfathomed blanks.
Deeper still are the big rivers that make

the ground quake, the air chill and quick.
The landscape is glorious even if the music is
Unfamiliar. It makes the brave shiver.

Think about it: what do you care if you're lost?
Wouldn't you really rather hear the music? This
is after all the plot of earth where

those of us who think talk of music
can be music
talk.


-- David McAleavey//




THE NINETIES


Between 1929 and 1941

without changes, without an Ars


turned to summer and all

sold to the little peeps as pets


between 1939 and 1951

often hardens, so windows snow


collective desires to collect and share

between 1949 and 1961


twenty eight leap years ago
thirty head of lamb, sheep


between 1929 and 1941

between 1959 and 1971


-- Chuck Stebelton

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Spare Room Reading Series presents . . .

Cat Tyc

Cynthia Nelson

Sunday, January 22nd
7:30 pm

New American Art Union
922 SE Ankeny Street
$5 suggested donation.

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

February 12 margareta waterman: reading & publication party
February 26 Alan Halsey, Geraldine Monk, & Martin Corless-Smith
March 5 Jonathan Brannen & TBA
April 23 Joshua Clover & Cynthia Kimball

============================================

Cat Tyc is a writer/videomaker recently transplanted to Portland from 
New York. Her poems have been published in the UK based litzine, /The 
Rising/, and other journals including /Wide Angle/ and /New York 
Nights/, as well as the Web sites http://www.nthposition.com, 
http://www.surgeryofmodernwarfare.com and http://www.xcp.bfn.org. She 
has a short story in the “Orpheus” edition of the Tiny Myth Series, a 
print/audio project that focuses on one Greek myth per issue 
(http://pocketmyths.blogspot.com/). Her video installations have shown 
at The Construction Company in Manhattan, the Collision Machine space in 
Brooklyn, as part of the Brooklyn Art Council’s Film and Video Festival 
in 2004 at the Brooklyn Museum of Art, and at Ladyfest East. Her next 
video installation, “The Night the Whole World Caught on Fire,” will 
premiere at Anthology Film Archives in NYC as part of the New Filmmakers 
Series this month.


Cynthia Nelson is a recent transplant to Portland although she has spent 
lots of time on the West Coast, and everywhere else in the U.S. for that 
matter. With her bands Ruby Falls, Retsin, The Naysayer, and Cynthia 
Nelson, she has toured and toured, a veritable vagabond. Living in New 
York City off and on for fourteen years had her wrangling with its 
poetry scene and publishing three collections with the then-fledgling 
Soft Skull Press, most recently The Kentucky Rules, which chronicles 
time spent living in Louisville. Her final opus to New York, Libertina 
Serenade, is due out next year. She recently completed her MFA in Poetry 
at Bard College, and a collection of her work there is called Space in a 
Barely Moment. With regards to Oregon, it is all she can do not to write 
about trees.


=============================================

from "The Gravity Line"

4.

Words can be recycled. Truly bio-degradable. The only thing she is truly 
sure is organic.

Meaning warrants it even though language does have its own anatomy.

A string of letters between white spaces made for the use of the eyes, 
ears and mouth to represent a multitude of belief and desire.

The meaning in a verb: to express existence, possession, action, motion.

Now make it all dissolve.

To separate apathy from incredible, concentrate stress and the lack 
thereof.

Alone with English, the perpetrator is a process; slurring, swallowing, 
and cutting corners.

Reconstructing this veil is kind of like eating dirt.

Her favorite kind only breeds certain kinds of trees.

She is better at this than with bottles.

Secretly a surrealist, obsessed with objects and their displacement.

Sometimes the transferred oils from hands.

In so many of the lost poems, she referred to holes in herself.

In one, she opened her rib cage to offer soup. But, unlike the others, 
she never referred to her neck.

Aware of the Lego model aesthetic, but not interested in commenting on it.

Surprised but not much so by the initial apprehension to Robert Frank’s 
honest but bleak representation of America, she yearns to live in a 
creepy Edward Hopper house.

She is left with a new fear of mail fraud.

-- Cat Tyc



It Was Winter


It was winter it was winter. But now it’s
Creepy winter. Much after six, the evening sun
Slants, newspapers blowing all over dead grass.
Scattering plastic bags we are still closed up.
We are not free to roam we have been tantalized.
We get false spring a lot. It makes winter harder.
Starts us working to the tune of spring. Mentally the
Winterwear’s been packed away. Can’t continue on
Ice roads screaming for betterment. Buds are cocoons,
Turning over in their grey putty-wombs.

-- Cynthia Nelson



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William Fox will be in Portland next week to give a slide talk and book 
signing:

Terra Antarctica: Looking into the Emptiest Continent 
(Trinity University Press)

Thursday Feb. 23 
7:00 pm
Broadway Books
1714 NE Broadway
Free admission

Terra Antarctica is a slide lecture about the history of artistic, 
cartographic, and scientific images of the Antarctic, the world's most 
isolated continent. Fox shows how human cognition reacts to deserts, and 
then, when our neurophysiology fails to cope with such large and 
apparently empty spaces, how we deploy cultural means such as maps and 
pictures to compensate. He also conducts a guided tour of the world's 
largest desert -- its frozen expanses, the world's southernmost active 
volcano, the South Pole, and the Dry Valleys where it has not rained for 
two million years. Along the way, he traces how its art has changed 
since the first paintings were made inside the Antarctic Circle in 1773.


William L. Fox is a writer, independent scholar, and poet whose work 
constitutes a sustained inquiry into how human cognition transforms land 
into landscape. His nonfiction books, which rely upon fieldwork with 
artists and scientists in extreme environments, include Driving by 
Memory; The Void, the Grid, and the Sign: Traversing the Great Basin; 
Playa Works; Terra Antarctica; and In the Desert of Desire: Las Vegas 
and the Culture of Spectacle. Reading Sand: Selected Desert Poems 
1976-2000 was published by the University of Nevada Press in 2002.



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Please join us for the second event in the basement salon series hosted 
by David Grooters and Robin Russel:


A poetry reading by William Fox and David Abel

Saturday Feb. 25
7:30 pm

Dave's Jazz Basement
2943 SE Salmon
(at the NW corner of Salmon and SE 30th, entrance on 30th)
$5 suggested donation


Bill Fox will be reading from a manuscript of new poems, some of which 
have appeared in the most recent issue of the Portland journal 
Spectaculum; this occasion will also be the prepublication release of 
David Abel's chapbook Black Valentine (Chax Press).



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Spare Room Reading Series

presents

Alan Halsey, Geraldine Monk, & Martin Corless-Smith

Sunday, February 26th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com

Upcoming readings:

March 5 Jonathan Brannen & Megan Kaminski
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

=========================================================

/Alan Halsey and Geraldine Monk launched the Spare Room series with a 
terrific reading to a packed house in March of 2002. We're thrilled to 
welcome them back, with their friend and collaborator Martin 
Corless-Smith. Don't wait another four years to hear them!
/
Alan Halsey, poet, visual artist, publisher, and bookseller, was born in 
London in 1949. He ran the legendary Poetry Bookshop in Hay-on-Wye, 
Hereford, from 1979 to 1996. In 1994 he founded West House Books, 
dedicated to publishing contemporary poetry, which he and Geraldine Monk 
run from Sheffield. Among his many books, a few recent titles include: 
Marginalien, The Text of Shelley's Death, Wittgenstein's Devil, Dante's 
Barber Shop (text and graphics), Days of '49 (with Gavin Selerie), Fit 
to Print (with Karen Mac Cormack), and Memory Screens (interactive CD 
documenting an "impossible book"); for more information on these and 
other titles, see www.westhousebooks.co.uk.

Geraldine Monk was born in Blackburn, Lancashire, in the north of 
England. Noctivagations, her 2001 collection of poetry and other texts, 
was described as "wild, erotic and deeply strange. A poetry that reveals 
the unspeakable weirdness of the everyday." It has also been written 
that she "writes with a sense of fury that is almost drowned out by 
laughter." With composer Martin Archer she has brought out two CDs, 
Angel High Wires and Fluvium; they are currently working on their third. 
Her recent books include Selected Poems (Salt, 2003) and Escafeld 
Hangings (West House Books, 2005).

Martin Corless-Smith was born and raised in Worcestershire, England. His 
books include Swallows (forthcoming in March from Fence Books), Nota 
(Fence Books), Complete Travels (West House Books), and Of Piscator 
(University of Georgia). He teaches literature and creative writing at 
Boise State University.

=========================================================

Mercurialis the Younger, frag. LXVII

you'll find Mercurialis' house at the edge
of the city -- protected by two stone dogs
either side of his front door --
everybody knows he's found his true lover
and they've planted their garden on a ledge
above the road with aconite, borage,
clematis and hellebore --
say they prefer to manage
a modest estate with a bog
they call a pond and a symposium of frogs

   -- Alan Halsey



Heat that Feb ice.   Spell melt.
T'wild frozen waters in that
ittered sky pelt downd
sunless pitch
jagged -- it pricks the
soft cheeky brains.  Afeard minds.

   -- Geraldine Monk



Tumultuous versions
Quite put out
Really popular version
Of this quit spirit
You'd not even recognize
The face of God or Love
If she peeked through the hedge
Offering herself
Anima climax
Mismanaged outfit
No legs in those trousers
Get home stay there

   -- Martin Corless-Smith

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Spare Room Reading Series

presents

Jonathan Brannen
     &
Megan Kaminski

Sunday, March 5th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

April 15 Dan Raphael presents Poetland: 80 Poets in 8 Hours in 8 Venues
April 23 Joshua Clover & Cynthia Kimball
May 21 Crag Hill & mARK oWEns
June 11 Chris Putnam & Ethan Fugate

=========================================================


Jonathan Brannen is the author of twelve collections of poetry and three 
collections of visual literature. His most recent books are 
/Deacessioned Landscapes/ (Chax Press, 2005) and /No Place To Fall/ 
(Sink Press, 1999). He currently resides in St. Paul, Minnesota.


A recent transplant to Portland, Megan Kaminski just completed her MFA 
in Creative Writing at UC Davis. Before that she went back and forth 
across the Atlantic, mostly between Los Angeles, Paris, and Casablanca. 
She is a poet -- as well as a sometimes finance director, dancer, 
writing instructor, and knitter extraordinaire.  Her work has appeared 
most recently in the current issue of /can we have our ball back?/ and 
forthcoming publications and performances include collaborations on a 
choral piece and a short film.


=========================================================


*Deaccessioned Landscapes 28*

Is time really an aspect of experience?
Words come back to haunt us re-echoing
in the breathless sky as imprecise
as cantaloupes asleep in the sun.
"Oranges and lemons," say the bells of Saint
Clements. "Reconstituted or squeezed freshly?"
ask the bells of Saint Presley too hot to touch
in the warm Memphis sun. On the porch
we're all ears. Green is green and doing
is doing and what is certain is certain
because it's certainly impossible.
Throw out the much of muchness. A dog has fleas
say the bells that just sneezed to keep it
from brooding about being a dog.

   -- Jonathan Brannen




*an atlas of trees in far away fields*


the table is not yet trembling
by the eastern hedge in the distant hills
contained in the atlas of memory and sky

leaves dissolve in my warm hands
in front of a grid of concrete and sun and blue

he told her about the importance of the absence of nothing
and sent some men to retrace the route with him

migratory birds do not return to the same tree

unable to distinguish between the burning and the burnt
we are only kept alive through repeated beginnings

I fell into their net of dust  

   -- Megan Kaminski


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William Fox
slide talk for his recently released book

Terra Antarctica: Looking into the Emptiest Continent

Thursday 2/23, 7:00 pm
Broadway Books
1714 NE Broadway
Free


= = = = = = = = = = = = = = = = = =


William Fox & David Abel
poetry reading

Saturday 2/25, 7:30 pm
Dave's Jazz Basement
2943 SE Salmon
(corner of Salmon and SE 30th; entrance on 30th)
$5 suggested donation


= = = = = = = = = = = = = = = = = =


Spare Room presents three British poets:

Alan Halsey / Geraldine Monk / Martin Corless-Smith

Saturday 2/26, 7:30 pm
New American Art Union
922 SE Ankeny Street
$5 suggested donation

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Apologies for perpetuating my old error --

this reading is Sunday evening


==================================

Spare Room presents three British poets:

Alan Halsey / Geraldine Monk / Martin Corless-Smith

Sunday 2/26, 7:30 pm
New American Art Union
922 SE Ankeny Street
$5 suggested donation

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This weekend

Spare Room Reading Series

presents

Jonathan Brannen
     &
Megan Kaminski

Sunday, March 5th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

April 15 Dan Raphael presents Poetland: 80 Poets in 8 Hours in 8 Venues
April 23 Joshua Clover & Cynthia Kimball
May 21 Crag Hill & mARK oWEns
June 11 Chris Putnam & Ethan Fugate



		
---------------------------------
Yahoo! Mail
Bring photos to life! New PhotoMail  makes sharing a breeze. 
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<pre><tt><tt>This weekend<br><br>Spare Room Reading Series<br><br>presents<br><br>Jonathan Brannen<br>     &amp;<br>Megan Kaminski<br><br>Sunday, March 5th<br>7:30 pm<br><br>New American Art Union<br>922 SE Ankeny Street<br><br>$5 suggested donation<br><br>www.flim.com/spareroom<br><a href="Compose?To=spareroom@flim.com&amp;YY=5916&amp;order=down&amp;sort=date&amp;pos=1">spareroom@flim.com</a><br><br><br>Upcoming readings:<br><br>April 15 Dan Raphael presents Poetland: 80 Poets in 8 Hours in 8 Venues<br>April 23 Joshua Clover &amp; Cynthia Kimball<br>May 21 Crag Hill &amp; mARK oWEns<br>June 11 Chris Putnam &amp; Ethan Fugate<br><br></tt></tt></pre><p>
		<hr size=1>Yahoo! Mail<br>
Bring photos to life! <a href="http://pa.yahoo.com/*http://us.rd.yahoo.com/evt=39174/*http://photomail.mail.yahoo.com">New PhotoMail </a> makes sharing a breeze. 

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Subject: [Spare Room Press Release] March 20: Lindsay Hill & Jules Boykoff
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Reading and book launch

Lindsay Hill, Contango (Singing Horse Press)

Jules Boykoff, Once Upon a Neoliberal Rocket Badge (Edge Books)


Monday, March 20
7:30 pm

Powell's on Burnside
Free


========================================================

from *Contango*



At the crest of the frozen coils


The advertising executive was having difficulty determining whether he 
was a feature or a benefit


He died trying


He noticed that when the turbulence subsided all the bodies on the 
bottom became visible


I’m buried everywhere he said

/
-- Lindsay Hill/



*Frederick "Toots" Hibbert Meets U.S. Secretary of Defense Donald 
Rumsfeld in the Kingston, JA Hilton to discuss their swervingly 
divergent views on "Old Europe," the fading charade of sex symbology, & 
the ever-unfolding handcuffery of trumped up charges**

*I want you to believe every word I say.
I want you to believe everything I do.
A familiar song of Jamaican
nuptials always in a foreign tongue.
Night is a sweet & dandy
numb-bodied multiplication table
a pressure dropped threat
treadmill exploding into massivity
an alphabet of promises
for your theoretical inventory.
The glimmer of a laughing trove.
The cartography of debt.
Surveillance is just a fragrance
just a silent handshake in 1983
just a de-mimeographed tragedy
of also but not additionally
of sweet & dandy pressure
drop come home to say hi.

/ -- Jules Boykoff/






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Subject: [Spare Room Press Release] By proclamation: Poetland!
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Mayor Tom Potter has made it official: for one day, Saturday April 15, 
Portland becomes Poetland.

Masterminded by Dan Raphael, more than 80 poets will read, for ten 
minutes each, in 9 locations, in less than 8 hours, in this 
unprecedented festival.

Spare Room is hosting one of the readings at our usual venue, New 
American Art Union, from 5:00 to 7:00 pm. See below for the lineup for 
each of the venues.

Note that some readings overlap; events are running simultaneously in 
two or more venues. Check times carefully, and make your itinerary!

Free admission to all readings.

On April 15, visit Poetland.



LOOKING GLASS BOOKS
318 SW Taylor

1:00 pm

Scott Poole
David Elsey
margareta waterman
Christine Brolliar
Thomas Lowe Taylor

2:00 pm

Douglas Spangle
Elizabeth Archer
Dennis McBride
Sean Patrick Hill
Turiya Autrey


MISSISSIPPI PIZZA PUB
3552 N. Mississippi

1:00 pm

Carlos Reyes
Daniel Sisco
Paulann Peterson
Sage Cohen
David Abel

2:00 pm

Bob Phillips
Flora Durham
Howard Aaron
Pat Vivian
Jay Thiemeyer


BROADWAY BOOKS
1714 NE Broadway

2:00 pm

Steve Sander
Patricia McLean
Lindsay Hill
Duane Poncey
Carla Perry

3:00 pm

Leanne Grabel
Per Fagereng
Maryrose Larkin
Tim Barnes
Penelope Schott


POWELL’S BOOKS
1005 W Burnside

2:30 pm

Brittany Baldwin
John Hogl
Lisa Steinman
Pat Hathaway
James Shugrue

3:30 pm

Arlo Voorhees
Hazel Dodge
Geraldine Foote
Curtis Whitecarrol
Tom Blood


URBAN GRIND IN THE PEARL
911 NW 14th Avenue

3:30 pm

Haiku Inferno:
Frank D’Andrea
Elizabeth Miller
Kevin Sampsell
Frayn Masters


RAKE GALLERY
325 NW 6th

4:00 pm

Verlena Orr
Kate Gray
Joel Barker
Endi Hartigan
James Grabill

5:00 pm

Lisa Radon
mARK oWENs
Paul Ash
Christyne Sisk
Trevino Brings Plenty


NEW AMERICAN ART UNION / SPARE ROOM
922 SE Ankeny

5:00 pm

Patrick Coleman
Gail Czerski
Katie Drabek
Jules Boykoff
Chris Piuma

6:00 pm

Kaia Sand
Jason Mashak
Daneen Bergland
Cat Tyc
Walt Curtis



BORDERS BOOKS
708 SW 3rd

5:30 pm

Christopher Luna
Jeff Sargent
Claire Sykes
Ken Palmer
Jose Knighton

6:30 pm

David Nelson
Joe Wheeler
Kelly Lenox Allan
Jeff Ettlin
Jim Martin


TUG BOAT BREWING
711 SW Ankeny

6:30 pm

Bill Shively
Chris Cottrell
Joyce McMahon
Ed Morris
Karen Braucher

7:30 pm

Casey Bush
Patrick Bocarde
Serena Blossom Appel
Laura Winter
Dan Raphael



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Spare Room Reading Series
presents


Joshua Clover

Cynthia Kimball


Sunday, April 23rd
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

May 21 Crag Hill & mARK oWEns
(at New American Art Union)

June 11 Chris Putnam & Ethan Fugate
(venue to be announced)

=====================================

Joshua Clover has written for the Village Voice for ten years, and the 
New York Times for one; in that time, has published one monograph on the 
film The Matrix, and two books of poetry: Madonna anno domini (LSU, 
1997), and The Totality for Kids (UC Press, 2006). He teaches in the 
English Department at UC Davis and is the proprietor of jane dark's 
sugarhigh! (www.janedark.com), a blog covering music, movies, poetry and 
politics. His favorite candies are Jujyfruits and Good'n'Plenty, and he 
loves Miranda Lambert and E-40.

Cynthia Kimball is a native of the Pacific Northwest, and the author of 
the author of Annotations for Eliza (Meow Press, 1997). She is hoping, 
after having spent one-sixth of her then-lifespan at SUNY-Buffalo, now 
to keep teaching at Portland Community College until the year 2021, at 
which point she will go back to school to study geology and nano-tech.

=====================================

Maoist Towelette

That was an adventure that it was that
Trail of words followed back toward
The capital where what adventure that it was
Not raining again in the capital that we
Met at the station “under the clock”
And took the funicular up to July it was
That July that was after that
In a small and drastic hotel room
That June of extreme modern that it was that
Matinal and blessuring June from which that
It was hard to distinguish the great
Overturnings from a jacquerie of knick-knacks
That had just like that been that May
Student linguistic worker May delirium
Where find the source of what that
What mark to mark where the trail begins
What slogan what slinky vagabond what
Tru-pure rupture disaster cherie!

-- Joshua Clover


from Transient Moorage

I. Watershed

“Think of all the water moving everywhere right now”
Dad said
at once I did begin

And with many fine devices I am going
toward the ocean a kind
of whiteness at the horizon

malachite forests unread
lines cross the sky there

Plotting along a palm’s
imprinted confluence
as the mind measures a
watery beat
that is not the pulse

“Think” now crossing now
everywhere right now

-- Cynthia Kimball



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Spare Room Reading Series

presents


Crag Hill

mARK oWEns


Sunday, May 21st
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

June 11 Chris Putnam & Ethan Fugate
(note: this reading will take place at the Portland Art Center)

July 16 Anne Gorrick & TBA
New American Art Union

=====================================


For eight years Mark Owens has been playing with concepts of language 
through the means of visual poetry, sound poetry, mail art, 
installation, performance, video, and photography.

Last year his visual poems were exhibited in the SoundVision / 
VisionSound III show at the Nave Gallery in Somerset, Massachusetts, and 
in the Land and Language exhibition at The Land/An Art Site in 
Mountainair, New Mexico, and he performed his “Sign Event” in NYC at 
Times Square.

He participated in the Fluxus Festival in Nice, France, in 2003, and had 
a solo show at the Casa de La Palabra in Guadalajara, Mexico, in 2001.

Curator of Spare Room's Sound Poetry Festivals in 2003 and 2004, his 
work has been published recently in the periodicals envelope, fo_a_rm, 
Ferrum Wheel, flim, and Take Out.

For this reading, his poems will be presented via video projection and 
performance.


Say this. There is a sentence
in my mouth.
–Michel Palmer

So his speaking is a loop. Of
interior and outside.
–Leslie Scalapino

Language does what it does most eloquently and least destructively when 
we let go the reins and give it its head . . . . it is a matter of 
feeling our way into the tiniest crevices of that language wants to do . 
. . a surrender . . . in which we can resonate.
–Donnel Stern

Thought is made in the mouth.
–Tristan Tzara



Crag Hill is a mountain in the North Western part of the English Lake 
District.

Crag Hill lives at 1015 NW Clifford Street, Pullman WA 99163.

It was formerly known as Eel Crag; however, the Ordnance Survey now mark 
Eel Crag as referring to the northern crags of the fell. It overlooks 
the valleys of Rannerdale on the west, and Coledale on the east.

Coeditor and publisher of Score (now Spore) magazine since 1983, and 
coeditor of /Writing to Be Seen/ (the first U.S. anthology of visual 
poetry in thirty years), Hill's books include /Another Switch/ (Norton 
Coker Press), /Yes James, Yes Joyce/ (Loose Gravel Press), /Dict: A 
Bridge/ (Xexoxial Endarchy), /The Week/ (Runaway Spoon Press), /American 
Standard/ (Runaway Spoon Press), and /Sixixix/ (Xexoxial Endarchy).

It is the second highest fell in the area of high ground between 
Whinlatter and Newlands, second to Grasmoor. It is 839 m (2753 feet) 
high, and has a relative height of 117 m.

Hill's tastes in poetry are eclectic, "ranging from expansive Walt 
Whitman to microscopic P. Inman, from traditional lyric technique 
embodied by James Galvin, Louise Gluck, through Olson, Creeley, Duncan, 
Eigner, Blackburn, Ginsberg, Snyder to the exploratory Coolidge, 
Silliman, Jake Berry, and others."

It is usually ascended as the highest point of the Coledale Horseshoe, a 
circuit of Coledale which takes in Causey Pike, Scar Crags, Sail and 
Grisedale Pike; other ascents are from Braithwaite, Stair or Buttermere.




=====================================


mostly standing water



small but necessary

each time with concomitant space



nuclear comedy

remembering to excavate



yawn of trapeze

now seems more evident



sundry

delay of synapse



book slid across carpeted floor

native tongues



slow and seemingly random

absolutes


-- Crag Hill









From passages@rdrop.com Tue May 16 19:32:35 2006
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Subject: [Spare Room Press Release] 
	New reading series: May 27, Buuck, Cohen, & Sprage
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You are invited to attend the inaugural poetry reading of the Tangent 
Reading Series:

David Buuck (Oakland, CA)
Alicia Cohen (Portland)
Jane Sprague (Long Beach, CA)

will read their work on Saturday May 27 at 6:30 p.m.

Clinton Corner Café
2633 SE 21st Ave.
(Corner of SE Clinton St. and 21st Avenue)


Reader bios:

David Buuck lives in Oakland, where he coedits Tripwire, and organizes 
BARGE, the Bay Area Research Group in Enviro-aesthetics. He is 
contributing editor at Artweek, and a grad student in the History of 
Consciousness program at UC-Santa Cruz.

Alicia Cohen is a poet, artist, critic, and teacher living in Portland. 
Her book of poems, Bear, was published by Handwritten Press in 2000 and 
in 2003 she wrote, directed, and produced a multimedia opera and gallery 
installation about Portland called Northwest Inhabitation Log. Recently 
a visiting professor of English at Reed College, she holds a PhD in 
poetics from SUNY Buffalo.

Jane Sprague's poems and reviews of contemporary art and poetry have 
been published in a variety of places including kultureflash, Kiosk, 
ecopoetics, Tinfish, Bird Dog and others. Her chapbooks include monster: 
a bestiary, break / fast, The Port of Los Angeles and fuck your 
pastoral. She is currently completing a book of poems that deal with 
globalization, ecology, and commerce as it is played out daily in the 
ports of Los Angeles and Long Beach, California where she currently lives.



From passages@rdrop.com Sat May 20 22:45:35 2006
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Cc: 
Subject: [Spare Room Press Release] Reminder: Crag Hill/mARK oWEns,
	Sunday 5/21, 7:30 pm
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Spare Room Reading Series

presents


Crag Hill

mARK oWEns


Sunday, May 21st
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

June 11 Chris Putnam & Ethan Fugate
(note: this reading will take place at the Portland Art Center)

July 16 Anne Gorrick & TBA
New American Art Union


=====================================


For eight years Mark Owens has been playing with concepts of language 
through the means of visual poetry, sound poetry, mail art, 
installation, performance, video, and photography.

Last year his visual poems were exhibited in the SoundVision / 
VisionSound III show at the Nave Gallery in Somerset, Massachusetts, and 
in the Land and Language exhibition at The Land/An Art Site in 
Mountainair, New Mexico, and he performed his “Sign Event” in NYC at 
Times Square.

He participated in the Fluxus Festival in Nice, France, in 2003, and had 
a solo show at the Casa de La Palabra in Guadalajara, Mexico, in 2001.

Curator of Spare Room's Sound Poetry Festivals in 2003 and 2004, his 
work has been published recently in the periodicals envelope, fo_a_rm, 
Ferrum Wheel, flim, and Take Out.

For this reading, his poems will be presented via video projection and 
performance.


Say this. There is a sentence
in my mouth.
–Michel Palmer

So his speaking is a loop. Of
interior and outside.
–Leslie Scalapino

Language does what it does most eloquently and least destructively when 
we let go the reins and give it its head . . . . it is a matter of 
feeling our way into the tiniest crevices of that language wants to do . 
. . a surrender . . . in which we can resonate.
–Donnel Stern

Thought is made in the mouth.
–Tristan Tzara



Crag Hill is a mountain in the North Western part of the English Lake 
District.

Crag Hill lives at 1015 NW Clifford Street, Pullman WA 99163.

It was formerly known as Eel Crag; however, the Ordnance Survey now mark 
Eel Crag as referring to the northern crags of the fell. It overlooks 
the valleys of Rannerdale on the west, and Coledale on the east.

Coeditor and publisher of Score (now Spore) magazine since 1983, and 
coeditor of /Writing to Be Seen/ (the first U.S. anthology of visual 
poetry in thirty years), Hill's books include /Another Switch/ (Norton 
Coker Press), /Yes James, Yes Joyce/ (Loose Gravel Press), /Dict: A 
Bridge/ (Xexoxial Endarchy), /The Week/ (Runaway Spoon Press), /American 
Standard/ (Runaway Spoon Press), and /Sixixix/ (Xexoxial Endarchy).

It is the second highest fell in the area of high ground between 
Whinlatter and Newlands, second to Grasmoor. It is 839 m (2753 feet) 
high, and has a relative height of 117 m.

Hill's tastes in poetry are eclectic, "ranging from expansive Walt 
Whitman to microscopic P. Inman, from traditional lyric technique 
embodied by James Galvin, Louise Gluck, through Olson, Creeley, Duncan, 
Eigner, Blackburn, Ginsberg, Snyder to the exploratory Coolidge, 
Silliman, Jake Berry, and others."

It is usually ascended as the highest point of the Coledale Horseshoe, a 
circuit of Coledale which takes in Causey Pike, Scar Crags, Sail and 
Grisedale Pike; other ascents are from Braithwaite, Stair or Buttermere.




=====================================


mostly standing water



small but necessary

each time with concomitant space



nuclear comedy

remembering to excavate



yawn of trapeze

now seems more evident



sundry

delay of synapse



book slid across carpeted floor

native tongues



slow and seemingly random

absolutes


-- Crag Hill



From passages@rdrop.com Tue May 30 11:49:46 2006
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Cc: 
Subject: [Spare Room Press Release] C.E. Putnam & Ethan Fugate,
 Sunday June 11th -- *AT PORTLAND ART CENTER*
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Spare Room Reading Series

presents


C.E. Putnam

Ethan Fugate


Sunday, June 11th
7:30 pm

Portland Art Center
32 NW 5th Avenue
www.portlandart.org

PLEASE NOTE THE LOCATION FOR THIS READING
(we will return to the New American Art Union in July)

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

Sunday, July 16th, 7:30 pm
New American Art Union
Anne Gorrick
Chris Piuma

August:
Daniel Comiskey & TBA

September and beyond:
Nico Vassilakis, Mary Burger, Kaia Sand, Maryrose Larkin, and many more

==============================================================

After a year away in Bangkok, Thailand, C.E. Putnam has returned to 
Seattle, Washington, where he maintains
P.I.S.O.R. (The Putnam Institute for Space Opera Research). Some of his 
chapbooks include /Manic Box/ (2001), /Did you ever hear of a thing like 
that? /(2001), and /Things Keep Happening/ (2003). /Monkey Puzzle, Bird 
Dog, Pom2, Ixnay, Pavement Saw, Tin Fish, Skanky Possum, lungfull!/ and 
http://canwehaveourballback.com/6putnam.htm contain some of his 
writings. He will be reading from a new manuscript in process, a series 
of Lessons, Tales and TimeSpace-Travelogues entitled /This Bunny is 
Making Me Happy/.


Ethan Fugate is the author of self published chapbooks /Pneumatics/ and 
/The Weight of the Sea in a Lazyboy Next Door/. His work has recently 
appeared in /The Brooklyn Rail/ and at Puppyflowers.com, and poems from 
the "Lazyboy" series may be heard on Tangent Radio at 
http://www.thetangentpress.org/radio.htm. Ethan is a coeditor of the 
journal POM2. He lives in Brooklyn with his beagle Coltrane and is 
currently finishing a book-length version of the "Lazyboy" poems.

==============================================================


Lesson 1: Even the little mice inside the walls could
not hear the silent tapping.



The earth-bound spirits were the first to write
by using pictures for words.


“The Earth is in the shape of an orange.”


The King was pleased with this orange
and granted the Monkeys a boon
by plunging them into working
for Mistress Cologne Factories.


This being the Golden Age of our surface ancestors

strumming their feathers.



The voice again: the red sea talking


I started smoking again

her yellow

flesh and bread.



We heard the cry of the wild
chicken we couldn’t get
a word in.



There is a picture of what I had
already eaten in my whole life.

A long row of baby chicks.


BUNNY caresses the tender ones
3 strokes for Evol Deeds they carried out.



I was Death, looking
at the 400 trees
I spent seven
weeks beneath.


Everyone in our town is boring: only watching water
find its way back to the ocean.


A bedspread smeared
blood!
Don’t turn here
I know a faster way.



And finally, if you respect me
have a deep astonishment
for those released from
their woe after I wipe
the glasses

I will show you
how to grind the mouse
meat into sweet
smelling scents.

-- C.E. Putnam



ALL I HAVE TO DO IS SNAP MY FINGERS

I know how to
put a song inside
your head.

Wide-screen adventure
and obsession with rain.
This dog is named Lousy.

Five pair dice and moonlight.
Time to suck in your stomach,
give your karaoke best.


This dog is named Terminal.


I know a way to implant this song.
Especially since it is a rain song
with five-part harmony and dogs.

If you put fresh vegetables in that rainy place
everyone would go there-even
the Tugboat people.

They don't name their dogs.
This dog is Bridge,
a little farther.


Experiments With Parallelograms is this dog's Indian name.


Should we even wait for the rain to shine?
For the mad lightning to power
the new mad science,

or just hit the bar and let Kay Sara,
(the drag queen) sing our blues away.
Call this pup The Charm.

A piano and some strings-
in the background the cartographer
meddles with a song about a dog.


The rain shining
has it.

-- Ethan Fugate

From passages@rdrop.com Wed Jul  5 13:40:27 2006
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Cc: 
Subject: [Spare Room Press Release] Anne Gorrick & Chris Piuma,
	Sunday July 16th
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Spare Room Reading Series

presents


Anne Gorrick

Chris Piuma


Sunday, July 16th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

August 6: Stephen Vincent & TBA

September 24: Daniel Comiskey & Kaia Sand


Anne Gorrick's visit to Portland is supported in part by a travel grant 
from the New York Foundation for the Arts.


================================================================

In addition to being a bookmaker, Anne Gorrick also works in encaustic, 
printmaking and traditional Japanese papermaking. She lives in New 
York’s Hudson Valley. Collaborating with artist Cynthia Winika, she 
recently produced a limited edition artists’ book called /“Swans, the 
ice,” she said/ through the Women’s Studio Workshop in Rosendale, NY. 
Her work has appeared in: /American Letters and Commentary/, /Cortland 
Review, Dislocate, Fence, Goodfoot, Gutcult, Hunger, MiPOesias, No Tell 
Motel, Seneca Review, Sulfur /and/ word for/word.
/

Chris Piuma is one of the Spare Room organizers. He also has a band, the 
Minor Thirds, who are working on their fourth album, /Nebraska from 
Afar/. His poetry has not appeared in many places -- a little magazine 
here, an installation over twenty acres of New Mexican desert there -- 
because there are few people who have asked him for poems to publish. He 
has, however, unexpectedly been involved in dancing (with Linda Austin's 
Boris & Natasha Dancers) and theatre (with a role in Liminal's 
production /The Resurrectory/) in the past few years, only because 
people have asked him. He does what is asked of him, is the moral of 
this biographical statement.

================================================================

/for Joanie Lunsford// /

This Pyrex appears exquisite!



/for Karen Jaffe/

He is the poster boy
for boys who pose on posters.


-- Chris Piuma




The August Garden


Even A Japanese maple assembled from pennies
Three summers of hydrangeatotal: tit-high brown
heart splittingly
my In wind, hot light and gold
sunk into the green of August
Even my conscience gardens
conscience The back deck is a ship filled with pink germaniums
the pink of a sugar refinery
White alyssum rubs against an intelligent blue
gardens A germination factory!

The small garden has shifted from the I
to that of the entire world
Hydrangeas tit-high: pink brown and blue
When color is a verb
Not much the flowers
in addition the heart is wonderful splittingly

Azaleas are small in accumulation
The azalea spring is a type of factory
The center splendid splittingly

Fact: Hours are amended and clear
August’s gold sunk inside green
it will Fact: it will come out and snap off by winter
The garden dozes beside its reputation
come Shepherd’s Purse floats over deep-red, top dark
Colors freeze to death in the christophii allium
out Gorgeous with hazard

We open up the hours
Cyan, the salvia, ascension
Deep red and high that it is dark
A confidential room open for suggestions
The end of apprehend
Gorgeous with intelligence and danger

Check against the authoritative text
and you will find the hour has opened
the gold sunk into an internal green
Facts are exterior, gasps
are Controls put in place against
the founded text, the open hour
descended In August, the wind and the gold
are descended from all forms of green
from all Blue-dark, fresh white
Green noises rearrange into dark red by night
forms The Japanese maple: an attempt at possibility
and its factory of subordinate components
of Compare the tree to the idea that germinates it
green It’s green intelligence is splittingly dangerous

-- Anne Gorrick


From passages@rdrop.com Mon Jul 24 02:02:52 2006
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Spare Room Reading Series

presents


Stephen Vincent

David Abel


Sunday, August 6th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

September 24: Daniel Comiskey & Kaia Sand
October 8: Mary Burger & Nico Vassilakis
November 12: Elizabeth Arnold & Patrick Hartigan

================================================================

Poet, essayist, editor, and long-time resident of San Francisco, Stephen 
Vincent was founder, publisher, and editor of Momo's Press and Shocks 
magazine in the nineteen-seventies. During the eighties and early 
nineties, he was the founding Director of Bedford Arts, Publishers, 
which became an internationally renowned publisher of art books.

Stephen Vincent's most recent books of poetry include Walking (Junction 
Press), A Walk Toward Spicer (Cherry On the Top Press), and two ebooks, 
Sleeping With Sappho (http://www.fauxpress.com/e/vincent/), and Triggers 
(http://www.shearsman.com/pages/books/ebooks/ebooks_home.html). Walking 
Theory is scheduled for publication in 2007.

Vincent maintains a popular blog of new poetry, art, and political 
commentary, occasionally including photos  
(http://stephenvincent.net/blog), and has recently returned from a 
reading tour that included the Soundeye Poetry Festival in Cork, 
Ireland, and Glasgow and Edinburgh, Scotland.



David Abel has the most extraordinary air of self-satisfaction. Yet, if 
we stop to examine those Chinese writings of his that he so 
presumptuously scatters about the place, we find that they are full of 
imperfections. Someone who makes such an effort to be different from 
others is bound to fall in people's esteem, and I can only think that 
his future will be a hard one. He is a gifted man, to be sure. Yet, if 
one gives free rein to one's emotions even under the most inappropriate 
circumstances, if one has to sample each interesting thing that comes 
along, people are bound to regard one as frivolous. And how can things 
turn out well for such a man?  (Diary of Murasaki Shikibu)

================================================================

from Triggers:

Ascend and dive
and don't tell me a thing
I've got a good love on the loose

A wet madrone, skin pealing, its bone bare trunk

Never stop for thought,
especially when the going's good

She's inside me, then out,
tactile as a banana or something to munch
Spasms spring tender illuminations
mauve and pink -

I am a young man now and a young man then:
Live live live.

     -- Stephen Vincent




Past's coast is peril's shipwreck

Coast's past is shipwreck's peril

Shipwreck's peril is past's coast

Peril's coast is shipwreck's past



Street's father is package's acid

Tube's marker is holiday's chain

Bucket's knot is hearsay's skirt

Shuffle's schedule is solstice's mold


     -- David Abel




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Eclipse

A sound installation by John Berendzen and David Abel

August 3 through September 3

Light & Sound Gallery
Portland Art Center
Free admission

Opening reception: First Thursday, August 3, 6:00 - 10:00 pm

Artist's talk: Thursday, August 24, 7:00 pm

In the ten-channel sound installation Eclipse, text and vocals by David 
Abel are harmonically and spatially treated by composer and electronic 
sound designer John Berendzen.

Portland Art Center
32 NW 5th Avenue (at Couch, downtown)
503-236-3322 www.portlandart.org
Gallery hours: Wed. - Sun., 12:00 - 6:00 pm

==========================================================

Also opening August 3, and on exhibit through September 3 at Portland 
Art Center:

Main Gallery

Focus Group
Installation by Houston

Focus Group is a selection of sculptures, photographs and video from a 
series called Market Penetration, begun in 2003. The work is produced by 
"Houston" a logo, a brand, a group or an individual. The work has the 
look and feel of consumer-grade mass-production, and along with the logo 
on each piece, suggests "product." Like a product line, the pieces share 
a color palette, materials and textures. They act as props arranged to 
create a narrative, a psychological space, a sense of a ritualistic 
moments caught in stasis. The elements diagram the American Spirit, 
through the form of 'product' and branded experience.

Waiting Room
Installation by Scott Wayne

Waiting Room is composed of 39 axes lodged into the ceiling. The space 
below will remain open, taunting a viewer to experience 39 axes hovering 
12 feet above. The axes will be installed into a 12ft x 12ft section of 
the ceiling.


Open Space Gallery

Art Media Employees: Past and Present

David Mosher, one of the owners of Art Media, has made contact with many 
of the past employees, many who are still working artists, for an 
exhibit of their work. Past employees will be joined by Art Media’s 
current employees, who’s art you often see in the Art Media Employee 
Window Gallery on 9th and Yamhill.




From passages@rdrop.com Fri Sep  8 22:20:27 2006
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	Daniel Comiskey & Kaia Sand
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Spare Room Reading Series

presents


Daniel Comiskey

Kaia Sand


Sunday, September 24th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

October 8: Mary Burger & Nico Vassilakis
November 12: Elizabeth Arnold & Patrick Hartigan

December 17: Tony Christy & Jules Boykoff
(location for December reading tba)

================================================================

Daniel Comiskey lives and works in Seattle. He was coeditor of /Monkey 
Puzzle/, a magazine of poetry and prose, and worked as literary manager 
for The Poet's Theater, which produced readings of dramatic works 
written by poets. He has collaborated with other poets on a number of 
projects, the most recent of which is the long poem "Crawlspace," 
written with C.E. Putnam and forthcoming from P.I.S.O.R. publications. 
His translations of Hu Xudong, produced in conjunction with Ying Qin, 
will appear later this year in the /Talisman Anthology of Contemporary 
Chinese Poetry/.


Kaia Sand is the author of the collection of poems /interval/ (Edge 
Books) and co-editor of the /Tangent/, which publishes a zine, 
pamphlets, and chapbooks. Her poetry most recently appeared in the 
/Ixnay Reader/; /Tool: A Magazine/ < http://www.toolamagazine.com/>; and 
an issue of /Dusie/ comprised entirely of chapbooks <www.dusie.org>. 
Work is forthcoming in /McSweeney's Quarterly Concern /and /Effing 
Magazine/. She lives in Portland, Oregon.

================================================================


Did


hopped first
shook twice

fizzed close
talked spot

filled moon
tripped road

built wave
tubbed big

treed smell
bused west

had way more at home


-- Daniel Comiskey



I know you through girlish glasses
I do love all your faces
A vanity is a bureau
Can I age compellingly
Can I age completely
My father was a sweetheart
He’s loosening the steering wheel
He’s tamping down the starter
He will no longer transport us
He will no longer transport us
He will no longer transport us
He will no longer transport us
He will no longer transport us
I’m a woman with a last name
All my words are in the dictionary
My body is not Freedom Plaza
I’m a whisper in the amphitheater
A deserter reporting why
Poaching soybeans in the county
He will no longer transport us
I cannot stomach that pretension
But all of you are so very lovely
I’ve armed this poem with small pistols
I’d mortgage our swooning t.v.
I’m no apple-fearing woman
I do love all your faces
But he will no longer transport us
I’m a woman reporting why

-- Kaia Sand (previously published in /PomPom Magazine/)


From passages@rdrop.com Tue Sep 26 21:40:19 2006
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Spare Room Reading Series

presents


Nico Vassilakis

Mary Burger


Sunday, October 8th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

November 12: Elizabeth Arnold & Patrick Hartigan
December 17: Tony Christy & Jules Boykoff
(*Note:* December reading at Portland Art Center, 32 NW 5th)

Coming up in early 2007:
Kate Greenstreet & Janet Holmes; Mark Wallace & Lorraine Graham;
John Olson, Maryrose Larkin, and more . . .



================================================================

Nico Vassilakis comes from NYC, but lives in Seattle. An ex-wife said, 
Thrum. He is a founder of the Subtext Collective. A recent guest editor 
of White Wall of Sound #35 - Northwest Concrete & Visual Poetry. Latest 
chapbook, ASKEW is available from bcc press and a forthcoming chap, POND 
RING, from 9muses press.


Mary Burger’s book Sonny, a narrative prose work about the Manhattan 
Project and the failures of ethical reason, was published in 2005 by 
Leon Works. Mary is coeditor of Biting the Error: Writers Explore 
Narrative (Coach House, 2004), an anthology of critical essays on 
experimental narrative, and also coedits the companion Web site 
Narrativity. Since 1998, she has edited Second Story Books, publishing 
new works of experimental narrative with emphasis on cross-genre 
writing. An Apparent Event: A Second Story Books Anthology was published 
in 2006.

================================================================


In other words, you see.

Distraction in the natural world is functional.

Tension applied to the next few feet of material is material.

The busyness of ideas accrues forming a larger non-idea.

Surprise of a handwritten end losing its loveliness.

The lump sum of delirious collisions make an alphabet restored.

As formula becomes lip-synched routine so do clouds make rain.

Twine line long strands of chewing gum pulled from the mouth.

The encrusted deflated diligent ability of signs & fractures.

Hourly return of soils & a name derived by chance share common strands.

Nostalgia for risk is wanting more risk than can be mentioned.

Than can be mentioned in bird watching societies.

One location is the new york city broadcasting system.

Bone density of a flower caught in negative spindles.

Repeating color fields actually detract from its significance.

Classically what emanates from a point is not another dot but circles.

For convenience the river was disfigured to suite the local economy.

Deceit in this situation made the table of edibles unappetizing.

Moving within time we are forced to create a timeline of ourselves.

The true measure of a person is metric.

-- Nico Vassilakis




A Certain Kind of Consciousness


Modernism’s after-image, we say, these clean lines, we knew all along 
what they were for.

We make the soft break from a certain kind of consciousness, it’s hard 
to measure what it took. This consciousness dares to say, I’m not 
asking. This consciousness dares to fall apart under questioning. This 
consciousness is inadequate, and yet it takes place. This consciousness 
proceeds without procedure. This consciousness cannot stand aside and 
provide a map to visitors. This consciousness might make for a mild, 
poignant feature article -- /musty fifth-floor walkup, newspapers 
stacked floor to ceiling with rabbit-warren pathways in between, 
sunlight and street noise filter in through an unseen window, in the 
kitchen a single energy-saving fluorescent bulb, a heavy 
restaurant-grade ceramic coffee mug, chipped, a porcelain sink with rust 
stains where the faucet had dripped for forty years/.

-- Mary Burger

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Spare Room Reading Series

presents


Nico Vassilakis

Mary Burger


Sunday, October 8th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

November 12: Elizabeth Arnold & Patrick Hartigan
December 17: Tony Christy & Jules Boykoff
(*Note:* December reading at Portland Art Center, 32 NW 5th)

Coming up in early 2007:
Kate Greenstreet & Janet Holmes; Mark Wallace & Lorraine Graham;
John Olson, Maryrose Larkin, and more . . .



================================================================

Nico Vassilakis comes from NYC, but lives in Seattle. An ex-wife said, 
Thrum. He is a founder of the Subtext Collective. A recent guest editor 
of White Wall of Sound #35 - Northwest Concrete & Visual Poetry. Latest 
chapbook, ASKEW is available from bcc press and a forthcoming chap, POND 
RING, from 9muses press.


Mary Burger’s book Sonny, a narrative prose work about the Manhattan 
Project and the failures of ethical reason, was published in 2005 by 
Leon Works. Mary is coeditor of Biting the Error: Writers Explore 
Narrative (Coach House, 2004), an anthology of critical essays on 
experimental narrative, and also coedits the companion Web site 
Narrativity. Since 1998, she has edited Second Story Books, publishing 
new works of experimental narrative with emphasis on cross-genre 
writing. An Apparent Event: A Second Story Books Anthology was published 
in 2006.

================================================================


In other words, you see.

Distraction in the natural world is functional.

Tension applied to the next few feet of material is material.

The busyness of ideas accrues forming a larger non-idea.

Surprise of a handwritten end losing its loveliness.

The lump sum of delirious collisions make an alphabet restored.

As formula becomes lip-synched routine so do clouds make rain.

Twine line long strands of chewing gum pulled from the mouth.

The encrusted deflated diligent ability of signs & fractures.

Hourly return of soils & a name derived by chance share common strands.

Nostalgia for risk is wanting more risk than can be mentioned.

Than can be mentioned in bird watching societies.

One location is the new york city broadcasting system.

Bone density of a flower caught in negative spindles.

Repeating color fields actually detract from its significance.

Classically what emanates from a point is not another dot but circles.

For convenience the river was disfigured to suite the local economy.

Deceit in this situation made the table of edibles unappetizing.

Moving within time we are forced to create a timeline of ourselves.

The true measure of a person is metric.

-- Nico Vassilakis




A Certain Kind of Consciousness


Modernism’s after-image, we say, these clean lines, we knew all along 
what they were for.

We make the soft break from a certain kind of consciousness, it’s hard 
to measure what it took. This consciousness dares to say, I’m not 
asking. This consciousness dares to fall apart under questioning. This 
consciousness is inadequate, and yet it takes place. This consciousness 
proceeds without procedure. This consciousness cannot stand aside and 
provide a map to visitors. This consciousness might make for a mild, 
poignant feature article -- /musty fifth-floor walkup, newspapers 
stacked floor to ceiling with rabbit-warren pathways in between, 
sunlight and street noise filter in through an unseen window, in the 
kitchen a single energy-saving fluorescent bulb, a heavy 
restaurant-grade ceramic coffee mug, chipped, a porcelain sink with rust 
stains where the faucet had dripped for forty years/.

-- Mary Burger
_______________________________________________
Spare Room/Passages mailing list
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Spare Room Reading Series

presents


Nico Vassilakis

Mary Burger


Sunday, October 8th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

November 12: Elizabeth Arnold & Patrick Hartigan
December 17: Tony Christy & Jules Boykoff
(*Note:* December reading at Portland Art Center, 32 NW 5th)

Coming up in early 2007:
Kate Greenstreet & Janet Holmes; Mark Wallace & Lorraine Graham;
John Olson, Maryrose Larkin, and more . . .



================================================================

Nico Vassilakis comes from NYC, but lives in Seattle. An ex-wife said, 
Thrum. He is a founder of the Subtext Collective. A recent guest editor 
of White Wall of Sound #35 - Northwest Concrete & Visual Poetry. Latest 
chapbook, ASKEW is available from bcc press and a forthcoming chap, POND 
RING, from 9muses press.


Mary Burger’s book Sonny, a narrative prose work about the Manhattan 
Project and the failures of ethical reason, was published in 2005 by 
Leon Works. Mary is coeditor of Biting the Error: Writers Explore 
Narrative (Coach House, 2004), an anthology of critical essays on 
experimental narrative, and also coedits the companion Web site 
Narrativity. Since 1998, she has edited Second Story Books, publishing 
new works of experimental narrative with emphasis on cross-genre 
writing. An Apparent Event: A Second Story Books Anthology was published 
in 2006.

================================================================


In other words, you see.

Distraction in the natural world is functional.

Tension applied to the next few feet of material is material.

The busyness of ideas accrues forming a larger non-idea.

Surprise of a handwritten end losing its loveliness.

The lump sum of delirious collisions make an alphabet restored.

As formula becomes lip-synched routine so do clouds make rain.

Twine line long strands of chewing gum pulled from the mouth.

The encrusted deflated diligent ability of signs & fractures.

Hourly return of soils & a name derived by chance share common strands.

Nostalgia for risk is wanting more risk than can be mentioned.

Than can be mentioned in bird watching societies.

One location is the new york city broadcasting system.

Bone density of a flower caught in negative spindles.

Repeating color fields actually detract from its significance.

Classically what emanates from a point is not another dot but circles.

For convenience the river was disfigured to suite the local economy.

Deceit in this situation made the table of edibles unappetizing.

Moving within time we are forced to create a timeline of ourselves.

The true measure of a person is metric.

-- Nico Vassilakis




A Certain Kind of Consciousness


Modernism’s after-image, we say, these clean lines, we knew all along 
what they were for.

We make the soft break from a certain kind of consciousness, it’s hard 
to measure what it took. This consciousness dares to say, I’m not 
asking. This consciousness dares to fall apart under questioning. This 
consciousness is inadequate, and yet it takes place. This consciousness 
proceeds without procedure. This consciousness cannot stand aside and 
provide a map to visitors. This consciousness might make for a mild, 
poignant feature article -- /musty fifth-floor walkup, newspapers 
stacked floor to ceiling with rabbit-warren pathways in between, 
sunlight and street noise filter in through an unseen window, in the 
kitchen a single energy-saving fluorescent bulb, a heavy 
restaurant-grade ceramic coffee mug, chipped, a porcelain sink with rust 
stains where the faucet had dripped for forty years/.

-- Mary Burger
_______________________________________________
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 From Jules Boykoff and Kaia Sand:


Please join us for the second installment of The Tangent Reading Series.

Come celebrate the release of Maryrose Larkin’s Inverse from nine muses 
books!

Witness Brooklyn, New York bumping bellies with Portland’s own Brooklyn 
neighborhood!

Allison Cobb (Brooklyn, NY)
Jen Coleman (Brooklyn, NY)
Maryrose, Larkin (Portland)

will read their work on Saturday, 14 October at 6:30 p.m.

Clinton Corner Café
2633 SE 21st Ave.
(Corner of SE Clinton St. and 21st Avenue)

Admission is free.

Reader bios:

Allison Cobb is the author of Born 2 (Chax Press), Cell (Portable 
Press), The Little Box Book (Situation Press) and co-author with Jen 
Coleman and CE Putnam of Communal Bebop Canto (50 Cents Off Press). She 
is also co-editor of POM2 magazine. She was born in Los Alamos, New 
Mexico, as was the atomic bomb. She now lives in Brooklyn, New York.

Jen Coleman’s poetry has appeared in Chain, Tolling Elves, Ixnay Reader, 
Tangent radio and more. She's also co-author of the chapbook Communal 
Bebop Canto with CE Putnam and Allison Cobb. She is also co-editor of 
POM2 magazine. Born in Minneapolis, she now lives in Brooklyn, New York.

Maryrose Larkin lives in Portland, Oregon, where she works as a 
freelance researcher. She is the author of Inverse (nine muses books), 
Whimsy Daybook 2007 (FLASH+CARD), and the forthcoming Book of Ocean 
(i.e. press). Maryrose is part of Spare Room, a group of people who 
organize readings and other events in Portland.


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O'odham Poems as Stories of a People
Ofelia Zepeda

Friday, October 13, 7:00 pm

Native American Student & Community Center, PSU
(SW Broadway & Jackson)

Admission: $10-20 sliding scale


The Natural Way, Indigenous Voices, a program of Earth & Spirit Council, 
invites you to a special presentation by MacArthur award winning poet 
and linguist Ofelia Zepeda.

Ofelia Zepeda is a poet and former director of the American Indian 
Studies Program at the University of Arizona. She was born and raised 
near the Tohono O'odham (Papago) and Akimel O'odham (Pima) reservations 
of Arizona and received her B.A., M.A., and Ph.D. from the University of 
Arizona. She is currently a professor of linguistics there and is 
considered the foremost authority in Tohono O'odham language and 
literature. In 1999, she was awarded a MacArthur Fellowship for her work 
as a linguist, poet, editor, and community leader devoted to maintaining 
and preserving Native American languages and to revitalizing tribal 
communities and cultures.

Co-sponsored by Ecotrust and the American Indian Science and Engineering 
Society.

More information at www.earthandspirit.org


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Subject: [Spare Room Press Release] Poetry and music, Saturday 10/28: Larkin,
 Winter, Marx, Muller, and Powell
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Poetry and improvised music:
publication party for Take Out magazine

Saturday, October 28
7:00 p.m. doors open

Dave’s Jazz Cellar
2943 SE Salmon
(at the NW corner of SE 30th & Salmon,
entrance from SE 30th -- look for gate and sign)

$5 to $10 suggested donation. All proceeds go to the artists.

For more information: winterlaura@earthlink.net or 503-236-1887


Take Out #7 is in the bag. Come celebrate the release of this issue with 
a night of poetry and music improvisation. Poets Maryrose Larkin, Laura 
Winter, and Doug Marx, and musicians Torsten Müller (bass) and Garth 
Powell (drums/percussion) mix it up for a power packed evening of new 
sounds and visions

Take Out is a bag-a-zine of art, music and poetry from voices around the 
world. Gathered in a paper bag, the loose pages beg to be pulled out, 
mixed up and enjoyed!


Bio information on the performers:

Torsten Müller, Bass
Torsten lives in Vancouver, Canada where he curates the Time Flies 
Festival of Improvised Music. He has played in Portland most recently 
with Michael Zerang and Fred Lomberg-Holm. Torsten has performed 
concerts all over the world with diverse improvisers such as: Evan 
Parker, Jon Rose, Joelle Léandre, John Zorn, Arto Lindsay, Lol Coxhill, 
Alexander Schlippenbach, Paul Lovens, Phil Minton, Charles Gayle, Peter 
van Bergen.

Garth Powell, Drums-Percussion-Composition
Garth lives in Santa Rose, California. He’s involved in numerous 
projects, most recently the Zen Widow project with Gianni Gebbia. You 
may have caught this project when they performed in Portland. Garth has 
performed all over the world with artists such as Steve Adams, Marshall 
Allen, Bonnie Barnett, Rob Blakeslee, Eugene Chadbourne, Nels Cline, 
Dominic Duvall, Gianni Gebbia, Phillip Greenlief, Vinny Golia, Mats 
Gustafsson, Henry Kaiser, Pauline Oliveros, Wadada Leo Smith, Glenn Spearman

Maryrose Larkin, Poetry
Maryrose lives in Portland, Oregon, where she works as a freelance 
researcher. She is the author of Inverse (nine muses books), Whimsy 
Daybook 2007 (FLASH+CARD), and the forthcoming Book of Ocean (i.e. 
press). Maryrose is part of Spare Room, a group of people who organize 
readings and other events in Portland.

Laura Winter, Poetry
Laura Winter lives in Portland. She is the publisher of TAKE OUT, now in 
its 10th year. She is the author of four poetry chapbooks, Stone Fog, 
skin into dust, No Gravy Baby and sleeping leaves. In addition to 
writing poetry, Laura is involved a variety of poetry/music projects 
that explore the percussive and tonal nature of words. Her writing 
follows the Objectivist tradition in the economy of language, 
crystalline images filled with music.

Doug Marx, Poetry
Doug lives in Portland as a poet, musician, teacher, land surveyor, 
Saturday night poker player and family guy, not necessarily in that 
order. His poems and essays have appeared in Willow Creek, Left Bank, 
The Alaska Review and Harper’s Magazine, and many other journals and 
little magazines. His chapbook Sufficiency was an Oregon Book Award 
finalist in poetry.

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Spare Room presents


Eugene Ostashevsky

Craig Foltz

Wayne Chambliss


Saturday, November 11
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

Sunday, November 12: Elizabeth Arnold & Patrick Hartigan

Saturday, December 9: J. Reuben Appelman, Adrian Kien, Tyler McMahon, 
and Erich Schweikher
(location TBA)

Sunday, December 17: Tony Christy & Jules Boykoff
Portland Art Center, 32 NW 5th (at Couch)

==========================================================

Eugene Ostashevsky's books of poetry include Iterature and Infinite 
Recursor Or The Bride of DJ Spinoza, both available through Ugly 
Duckling Presse. His work has also appeared in Best American Poetry, 
Jubilat, Boston Review, and Fence. A recipient of a 2005 poetry 
fellowship from NYFA, he also translates Russian absurdist literature of 
the 1930s, and is the editor of OBERIU: An Anthology of Russian 
Absurdism, published by Northwestern University Press.

Craig Foltz is a writer and multimedia artist whose work has appeared in 
numerous journals including; 14 Hills, Alaska Quarterly Review, Juxta, 
580 Split, and Fiction International among others. He has released two 
chapbooks on the sadly defunct Loudmouth Collective. A book of poetry, 
The 50 States and Washington, D.C., is forthcoming from Ugly Duckling 
Presse. His photos will be included in a group show at the Hoxie Gallery 
in Connecticut, Summer 07. He lives and works in New Zealand, on the 
slopes of a dormant volcano.

Wayne Chambliss is a poet and a translator. His work has recently 
appeared in Fence, jubilat, Octopus, Fascicle, The Germ, Drunken Boat, 
and other literary journals. He has a chapbook, The Traveling Salesman 
Problem (The Caitlins, 2006), and his translations of Andrea Zanzotto 
will be published in The Disappearing Pheasant: An Anthology of Italian 
Poetry 1950-2000 (Agincourt, 2007). Wayne moved to Portland from New 
York City earlier this year.

==========================================================


Dear Owl


Dear Owl
you have big eyes

feathers that stick in all different directions
you wake up

your panties are funny
You hear

the sounds words make
as they plead for life

that’s all that remains
of the language of language

O Owl
among leaves

what is this forest
of “letters,” black light

of unintelligible suns
I cannot see

who I am
who you are

the difference between good and evil
the end of human desire

how to tell the truth
and why

Is this my life
Are you in it

-- Eugene Ostashevsky


Go -

stumbling on a past life in the head
of a microbrew. widmer hefeweizen and
fresh bread. if the willamette meets
the columbia it will be in spite of
phrasal construction. jars of water keep
unwanted words off of lawns. composting
strategies instead of wigwams. baroque
and dewish. the headlines proclaim a loser
before a winner. clyde the glide shoots
and misses. homeless kids in chinatown
rue the day. ween stagedive at the satyricon
means a kick in the head. still, beats
shakespeare in the foothills anyday. x-ray
cafe matinee. the long walk home from
dots cafe. a new york knicks cap abandoned
at mt hood. double u. pee. aye. shelley duval’s
eyes bulge after they blink. the way that a yard
predates a meter. i’m with you. you say,
that’s how we’ll say it went down. a trestle
for planking. a bridge for a canyon. the big
houses of astoria are cluttered with parts
of speech. blow wind blow. a patio where
there used to be the roof of a mouth. deck chairs
for teeth. stay with me. the rain is nearly gone.

-- Craig Foltz


San Francisco Postcard 2

Like Seneca in his bath,
sunset crimsons the footpath
as a wedge of cranes, true to its course,
like a less-than sign, increases the North
by its migration.

The ossification
of rivers. Jackrabbit tracks. Stacks of wood.
Ensconced in the bed like a fossil, your dreams are black as mud:
a colossal expanse of empty tundra
too hard as yet, thank God, for one’s going under.

-- Wayne Chambliss


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 part 2: Elizabeth Arnold & Patrick Hartigan, Sun. 11/12
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Spare Room Reading Series

presents


Elizabeth Arnold

Patrick Hartigan


Sunday, November 12th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

Saturday, December 9: J. Reuben Appelman, Adrian Kien, Tyler McMahon, 
and Erich Schweikher
(location TBA)

Sunday, December 17: Tony Christy & Jules Boykoff
Portland Art Center, 32 NW 5th (at Couch)

===================================================================


Elizabeth Arnold grew up in northeast Florida and attended Oberlin 
College and the University of Chicago. She is presently on the faculty 
at the Warren Wilson and University of Maryland MFA programs. Arnold has 
received a Whiting Writer’s Award and fellowships from the Fine Arts 
Work Center and the Institute for Advanced Studies at Radcliffe. Her 
poems and essays have appeared in /Slate/, /TriQuarterly/, 
/Conjunctions/, /Chicago Review/, /Pequod/, and Antioch Review. She 
discovered a complete, unpublished manuscript of the British poet Mina 
Loy’s novel, /Insel/, which she edited for Black Sparrow Press in 1991. 
Her first book of poems, /The Reef/, was published in 1999 by the 
University of Chicago Press. Her second, /Civilization/, appears this 
September from Flood Editions.

Patrick Hartigan lives in Portland, Oregon with his wife, Endi, and son, 
Jackson. He adds: "I have found that this statement is my one, true 
biographical statement -- that it does not state anything that either I, 
my friends, or a disinterested reader would take exception to."


===================================================================


AT K’AXOB


In the first millennium BCE, in present-day Belize, a man
maybe in a dazed state after dinner, or in the morning, half-awake

saw how the objects in a room look different

from the doorway, say, or from the floor,
the house completely empty now, the air inside it still

so that perspective, once shifted, if only from a slightly tilted chin,

breathed the space alive. The man stood up and felt the difference,
built a platform, a little stage inside the room.

The pyramids came after that.

-- Elizabeth Arnold



Rockaway Visit

Look at the green all
this green the forest
is so green. Look how
green a forest can be

See the sky over seas
green and blue my eye
catches sky over seas
green or blue & green

Look at his face this
boy this look at this
face this man or look
at the trees the seas

-- Patrick Hartigan


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Subject: [Spare Room Press Release] Boise/Portland,
	Saturday 12/9 at Concordia
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Spare Room Reading Series

presents

 From Boise with Love:
J. Reuben Appelman, Adrian Kien, Tyler McMahon, and Erich Schweikher


Saturday, December 9th
7:30 pm

Concordia Coffee House
2909 NE Alberta

free admission

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

December 17, 7:30 pm
Tony Christy & Jules Boykoff
Portland Art Center, 32 NW 5th

Coming up in early 2007:
Linda Russo & Joel Bettridge; John & Roberta Olson; Kate Greenstreet & 
Janet Holmes; Mark Wallace & Lorraine Graham; Susanne Dyckman; Elizabeth 
Treadwell; Maryrose Larkin & Catherine Daly; and more . . .

===============================================================

J. Reuben Appelman is currently at work producing the feature film, 
CHEMISTRY. He is a recent grant recipient from the Idaho Commission on 
the Arts, and his first collection of poems, MAKE LONELINESS, was an 
Action Books December Prize Finalist. He lives in Boise, Idaho.

Adrian Kien is a poet of little consequence. He lives in Boise, ID.
Adrian Kien is a poet and sometimes performance artist.
Adrian once met a taxidermist with whom he discussed wearing socks.
Adrian is well fed. Is your name Walter?
Adrian Kien is a poet who lives in Boise, ID where he teaches English. 
He reads poetry but he can read other stuff too, just ask him.
Adrian Kien is a poet. He is killing you right now and you don't even 
know it. He is like the sun.
Adrian Kien is a bilingual ungulate. Hear him moo.
Adrian Kien lives and teaches in Boise, ID where he is in his third year 
of the MFA program at Boise State University.

Tyler McMahon is an editor of the non-fiction anthology "Surfing's 
Greatest Misadventures" as well as of the literary magazine Cold-Drill. 
In 2005, he won the Glenn Balch award for fiction. Currently, Tyler 
teaches writing in Idaho and surfing in California.

Erich Schweikher’s aspirations to play professional baseball ended in 
eighth grade when he couldn’t hit a tight curveball. At the moment he is 
editing a cycling anthology and working as a tutor for Portland's public 
schools. Occasionally he’ll write a poem or two, maybe compose a few 
lines of prose.


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	Sunday 12/17
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Spare Room Reading Series

presents

Tony Christy & Jules Boykoff


Saturday, December 17th
7:30 pm

Portland Art Center
32 NW 5th Avenue
(at the corner of Couch)

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

HAPPY NEW YEAR!

January 28 Linda Russo & Joel Bettridge
February ? Rebecca Loudon & TBA
March 19 Kate Greenstreet & Janet Holmes
March 25 Mark Wallace & Lorraine Graham


===============================================================

Tony Christy writes: "As a child I grew gills and drowned. My father was 
a scrap surgeon my mother a mitt mender. I worked in a restaurant full 
of half-stiffs and box bleeders; the customers ate the food, the servers 
ate the help. Upon graduation from the institute of technical friction I 
took a position with the broke bureau."

Jules Boykoff is the author of /Once Upon a Neoliberal Rocket Badge/ 
(Edge, 2006), /The Metal Sunset of Tomorow's Ascending Dissension/ 
(Dusie, 2006), & and a 'wee-chap' called /Gringostroika/, just out from 
Dusie Press. With Kaia Sand he co-curates the Tangent Reading Series in 
Portland. His poems have been
published recently or are forthcoming in /Tinfish,/ /Traffic,/ 
/XConnect,/ & the /Oregonian/. He lives
in Southeast Portland.

===============================================================

Excerpt from MINUTES ACTUEL

1) Wheel international 350 tractor model, pippin 120 Backhoe, Bucket 
14”, Front 9 cu. Ft. backfill.
2) 1 Backhoe pippin bucket
BEARD & IMPLEMENT CO.,
1 Rubber massey ferguson mh 50 back-hoe tractor, buckets …………..5,050.00
(Into first delivery divided upon payment)
1 J.I. 310 case industrial hydraulic end loader 101
1 Davis Model Back Hoe
1 Model wide dozer
1 65-20 loader backfill blade , 12” and 18” bucket loader
1 International davis “300” front special Shawnee net blade…………..$4,7809.00
A. Estimate #3 on Dake Sewer statement for work on said clean-u

Item “J” to be held up on paving etc. To meet in south part of city even 
if over-all plans on this matter were being explored for lots 5 and 6 
block from “A” “B” by B.L.
A quorum was transacted with prayer minutes not prepared in final form 
in connection with G heirs to develop price for information unanimously 
adopted by s. harry to wit:
/“Whereas, to them a certain lying league of purposes using the same 
grounds as land for a dangerous ordinance and the shooting of all kinds 
of fire under advisement that the hertefore area conveyed in the event 
should not recover during construction.” /
W.D.
E. A. Gibbs
Milligan
Early
Being absent, thus constituting a letter for a proposed bon ton to 
present action as matter of exception moved by B.F. whence repealed to 
confirm Citys’ unanimous yea:
Convened at City with following
Brack Gage rifle V.F.target interest headed a bon-ton to secure 70 
people on a 2 inch line and furnish them in behalf of toilets of pit 
type to check on elected wards number 2 and 4.

-- Tony Christy



Hope is a category, an object, a toothbrush, an unmarked door, a metric 
of leisure, a decolonized
mind. Hope is a volcano, a train platform, an island, a thumbtack, an 
impediment, a bombshell, an
intellectual pitbull
Or,
Hope Is a Full-Time Job


9. where death means death & not the end

9. where closer to closure means not quite there

9. whereas closer to closure, closer to fine

9. where finite closure meant death without end

9. where closure lived swimmingly without love in the end

9. whereas love in the end meant closure to that question

9. where closer to death meant fine thanks, fine thanks

9. where your moxie rocked up life without end

9. where death meant life on a highway without stars

9. where death meant life on a highway without stars

9. whereby whereas whereupon we must live

-- Jules Boykoff


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My apologies: Please disregard the incorrect date in the previous 
announcement.

===================================

Spare Room Reading Series

presents

Tony Christy & Jules Boykoff

*Sunday*, December 17th
7:30 pm

Portland Art Center
32 NW 5th Avenue
(at the corner of Couch)

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

HAPPY NEW YEAR!

January 28 Linda Russo & Joel Bettridge
February ? Rebecca Loudon & TBA
March 19 Kate Greenstreet & Janet Holmes
March 25 Mark Wallace & Lorraine Graham


===============================================================

Tony Christy writes: "As a child I grew gills and drowned. My father was 
a scrap surgeon my mother a mitt mender. I worked in a restaurant full 
of half-stiffs and box bleeders; the customers ate the food, the servers 
ate the help. Upon graduation from the institute of technical friction I 
took a position with the broke bureau."

Jules Boykoff is the author of /Once Upon a Neoliberal Rocket Badge/ 
(Edge, 2006), /The Metal Sunset of Tomorow's Ascending Dissension/ 
(Dusie, 2006), & and a 'wee-chap' called /Gringostroika/, just out from 
Dusie Press. With Kaia Sand he co-curates the Tangent Reading Series in 
Portland. His poems have been
published recently or are forthcoming in /Tinfish,/ /Traffic,/ 
/XConnect,/ & the /Oregonian/. He lives
in Southeast Portland.

===============================================================

Excerpt from MINUTES ACTUEL

1) Wheel international 350 tractor model, pippin 120 Backhoe, Bucket 
14”, Front 9 cu. Ft. backfill.
2) 1 Backhoe pippin bucket
BEARD & IMPLEMENT CO.,
1 Rubber massey ferguson mh 50 back-hoe tractor, buckets …………..5,050.00
(Into first delivery divided upon payment)
1 J.I. 310 case industrial hydraulic end loader 101
1 Davis Model Back Hoe
1 Model wide dozer
1 65-20 loader backfill blade , 12” and 18” bucket loader
1 International davis “300” front special Shawnee net blade…………..$4,7809.00
A. Estimate #3 on Dake Sewer statement for work on said clean-u

Item “J” to be held up on paving etc. To meet in south part of city even 
if over-all plans on this matter were being explored for lots 5 and 6 
block from “A” “B” by B.L.
A quorum was transacted with prayer minutes not prepared in final form 
in connection with G heirs to develop price for information unanimously 
adopted by s. harry to wit:
/“Whereas, to them a certain lying league of purposes using the same 
grounds as land for a dangerous ordinance and the shooting of all kinds 
of fire under advisement that the hertefore area conveyed in the event 
should not recover during construction.” /
W.D.
E. A. Gibbs
Milligan
Early
Being absent, thus constituting a letter for a proposed bon ton to 
present action as matter of exception moved by B.F. whence repealed to 
confirm Citys’ unanimous yea:
Convened at City with following
Brack Gage rifle V.F.target interest headed a bon-ton to secure 70 
people on a 2 inch line and furnish them in behalf of toilets of pit 
type to check on elected wards number 2 and 4.

-- Tony Christy



Hope is a category, an object, a toothbrush, an unmarked door, a metric 
of leisure, a decolonized
mind. Hope is a volcano, a train platform, an island, a thumbtack, an 
impediment, a bombshell, an
intellectual pitbull
Or,
Hope Is a Full-Time Job


9. where death means death & not the end

9. where closer to closure means not quite there

9. whereas closer to closure, closer to fine

9. where finite closure meant death without end

9. where closure lived swimmingly without love in the end

9. whereas love in the end meant closure to that question

9. where closer to death meant fine thanks, fine thanks

9. where your moxie rocked up life without end

9. where death meant life on a highway without stars

9. where death meant life on a highway without stars

9. whereby whereas whereupon we must live

-- Jules Boykoff

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Subject: [Spare Room Press Release] Sunday January 28: Linda Russo & Joel
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Spare Room Reading Series

presents


Linda Russo

Joel Bettridge


Sunday, January 28th
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

February 11: Rebecca Loudon & Rodney Koeneke
March 19: Kate Greenstreet & Janet Holmes
March 25: Mark Wallace & Lorraine Graham
April 22: Susanne Dyckman & TBA
May 20: Rachel Zolf & Elizabeth Treadwell


================================================================

Linda Russo is a graduate of the poetics program at SUNY Buffalo, and 
teaches at the University of Oklahoma. Her books include MIRTH (Chax 
Press, 2007), secret silent plan (curricle patterns, 2001), and o going 
out (Potes & Poets, 1999); while in Buffalo she coedited verdure 
magazine. The excerpt below, along with other poems, can be found in the 
online magazine Jacket (issue 28).

Joel Bettridge's first book of poems, That Abrupt Here, is forthcoming 
from The Cultural Society Press, and he is currently editing a 
collection of essays on Ronald Johnson for the National Poetry 
Foundation's Life and Work series. He teaches at Portland State University.

================================================================



from "Remedies of Love (After Ovid)"

Here is love and peace
except that I am wounded
and have no faith.
I want to be taught in the school,
like a scholar, to itemize
my booty, but I'm much too nice to
be bothered and besides
I am wounded
and troubled and
delighted and aroused and appalled.

-- Linda Russo




For All Appearance


Impressed into affection
after all
the kind of talk we
come to expect to hear from
elected officials and

bedfellows
for example
To make palatable

my choices of
formal organization
a problem of
your neckline and what it
suggests of what I’m sure

are any number of

personal qualities
The dilemma of using
pathology

for bedding As if
I could repent of
my wish for my need of

repentance
Indecorous a one type of
allusion standing

in for another
something like
to cite an instance
Bets placed on
naming

indiscernible parts of speech

-- Joel Bettridge






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Subject: [Spare Room Press Release] other upcoming readings
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A bumper crop of readings coming up in the next two weeks.

Listed here cumulatively, rather than in half a dozen separate mailings, 
for convenience.

Jan 27 K. Silem Mohammad & Vincent Craig Wright (Powell's)
Jan 28 Linda Russo & Joel Bettridge (Spare Room)
Feb 2 Rob Halpern & Matthew Stadler (Tangent)
Feb 5 Robin Blaser (Evergreen)
Feb 6 Clayton Eshleman's Complete Vallejo (Powell's)
Feb 7 Clayton Eshleman/Vallejo (Reed)

Details below; admission free unless otherwise noted.


* * * *


K. Silem Mohammad & Vincent Craig Wright

Saturday, January 27, 7:30 pm
Powell's Books on Hawthorne


/A Thousand Devils/, the new poetry book from sometime "Flarfer" and 
blogger K. Silem Mohammad "demonstrates the aggressive responses to all 
conventions, the hostility and frustration toward mainstream meanings 
and mainstream media, and the sometimes exhilarating parody, which Flarf 
(along with predecessors from William Burroughs to Bruce Andrews) 
manifests" (Publishers Weekly). /

Redemption Center,/ a debut collection of stories by Vincent Craig 
Wright, delivers a funny, troubling, and sometimes hallucinatory look at 
modern American life, love, faith, and work.


* * * *


Rob Halpern & Matthew Stadler

Friday, February 2, 7:00 pm
Clinton Corner Cafe
2633 SE 21st

Please join us for the third installation of the The Tangent Reading Series!

Rob Halpern is the author of /Rumored Place/ (Krupskaya 2004) and 
/Disaster Suite/ (Vigilance Society 2006). Currently, he’s co-editing 
the poems of the late Frances Jaffer together with Kathleen Fraser, 
writing a collaborative poem with Taylor Brady, and translating the 
early essays of Georges Perec, the first of which is forthcoming in 
/Chicago Review/. He lives in San Francisco.

Matthew Stadler is the author of four novels, including /Landscape: 
Memory/ and /Allan Stein/. He was the literary editor of /Nest Magazine/ 
and is the co-founder and editor of Clear Cut Press. His non-fiction has 
been published widely in North America and Europe, and he is currently 
researching the early history of
North Pacific America, for a series of lectures and essays. He lives in 
North Portland.

For more information about the Tangent Reading Series, and for samples 
of Rob Halpern's and Matthew Stadler's work, see: 
www.thetangentpress.org/readings.html


* * * *


Prologomena Reading Series presents

Robin Blaser

Monday, February 5, 7:00 pm

Sem 2 A1105
Evergreen State College
Olympia WA

Robin Blaser found his beginnings as a poet in the excitement of the New 
American postmodern, particularly as it began to take shape in the work 
of his companions Jack Spicer and Robert Duncan in the late 1940s. 
Unlike many of his peers, however, Blaser has developed as a writer 
through subsequent generations and poetic movements; his work thus 
extends beyond the era in which it began.

An immigrant to Vancouver, British Columbia, in 1966, and a Canadian 
citizen since 1972, Blaser has established himself as a key figure on 
the west coast of B.C. and an important influence among Canadian 
experimental poets such as George Bowering, Steve McCaffery, bp Nichol, 
Erin Moure, and Daphne Marlatt. The Holy Forest, a lifelong serial poem 
composed of many books, is his major work in poetry and is still in process.

In 2000, Blaser published a libretto for The Last Supper, an opera with 
music by British composer Sir Harrison Birtwistle. And just out from 
University of California Press are two eagerly awaited volumes: the 
expanded edition of The Holy Forest, adding more than 200 pages to the 
1993 Coach House Press edition;
and The Fire: Collected Essays, certain to be a landmark of North 
American poetics and criticism.

Don't miss this rare opportunity to hear one of our most impassioned and 
dedicated voices.


* * * *


Clayton Eshleman

Two readings in celebration of the new University of California 
publication of Eshleman's Vallejo translations, Complete Poetry: A 
Bilingual Edition, the culmination of forty years of work

Tuesday, Feb. 6, 7:30 pm
Powell's City of Books, W. Burnside

Wednesday, Feb. 7, 4:30 pm
Reed College, Psychology Building Auditorium (Psych. 105).






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	plastics
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Master Recycler Plastic Roundup

On February 3rd, you can drop off your hard-to-recycle plastics at three 
Portland locations. Master Recyclers will collect it, and Agri-Plas, a 
recycler located in Brooks, Oregon, will recycle the plastic into new 
products.

Saturday February 3
9:00 am - 2:00 pm

PCC Rock Creek Campus,17705 NW Springville Rd
PCC Sylvania,12000 SW 49th
Floyd Light Middle School 10800 SE Washington


Please Sort and Rinse plastics into the following categories:

* Plastic bags (dry cleaning, store sacks, bubble wrap, clean freezer 
bags, zip lock bags, etc.)
* Plant containers and trays (please knock out dirt ahead of time)
* Please rinse and sort plastics with numbers by numbers (bags and pots 
go in the first categories)
* Miscellaneous plastics without numbers:
bottle caps, drink lids, DVD’s, CDs, CD cases, straws, lawn/patio 
furniture, toys
(think Big slides!), pet igloos, laundry baskets, kiddy pools & more.
(Bring it, we'll try to take it.)
* Plastic reuse items (good lawn chairs, tables, cat litter buckets & more)


We are sorry we CANNOT accept:

Styrofoam blocks, Styrofoam peanuts, Styrofoam food trays or egg cartons
milk jugs (recycle at curb) PVC pipe
food-contaminated or dirty plastic VHS and cassette tapes
small toys foam rubber
plastic with metal inside, or plastic that contained hazardous materials.

Questions?

Email: plastic.recyclers@gmail.com
or check commonly asked questions at www.masterrecycler.org

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Spare Room Reading Series

presents


Rebecca Loudon

Rodney Koeneke

Susan Landers


Sunday, February 11
7:30 pm

New American Art Union
922 SE Ankeny Street

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

March 19: Kate Greenstreet & Janet Holmes
March 25: Mark Wallace & Lorraine Graham
April 22: Susanne Dyckman & TBA
May 20: Rachel Zolf & Elizabeth Treadwell


================================================================

Rebecca Loudon lives and writes in Seattle. She is the author of two 
collections of poetry, Tarantella (Ravenna Press 2004) and Radish King 
(Ravenna Press 2006) and a chapbook, Navigate, Amelia Earhart's Letters 
Home (No Tell Books 2006.) Rebecca is the librettist for composer Roupen 
Shakarian and is currently writing the libretto for an opera, Red Queen. 
She teaches poetry workshops to adults and violin to children.


Rodney Koeneke is the author of Musee Mechanique (BlazeVOX, 2006), Rouge 
State (Pavement Saw, 2003), and an obscure study of I.A. Richards in 
China. His work has been read or performed at Small Press Traffic, The 
Poetry Center at SFSU, the Pacific Film Archive, The Poetry Project at 
St. Marks Church, and the 2006 Flarf Festival in New York City. He lives 
with his wife Lesley Poirier and their young son Auden in the SE 
cantonment of Portland. He blogs about poetry & Portland at 
www.modampo.blogspot.com.


Susan Landers is the author of 248 mgs, a panic picnic (O Books, 2003) 
and co-editor of the journal Pom2 (www.pompompress.com). She lives in 
Brooklyn.


================================================================


When I was Laura Ingalls


The best parts of me were sewn shut.

I shaved my sister's head.

We set fire to a can of paint in the neighbor's garage.

I rolled my skirt high above my knees and got frostbite.

We were ordered to close our holes but we called them portals.

I stole sugar from the infirmary.

Ice cured everything and if it didn't we stayed sick.

We ate a barn owl for breakfast.

Lark drank poison and we just stood there.

Pa broke out the windows with his beak.

All our dogs were named Jacky-Lame-O.

The horses bled from their hooves.


  -- Rebecca Loudon, from Radish King



USE DIPS TO INITIATE

Whisker was first used
in the air-sparging tube
to regulate transient voltage dips
    for the whole modular village

hordes of unshorn unicorn
serves as insecticides and, when they expired,
    to initiate dialogue on exceptions:

that tape shall be used in every threaded fitting.
  that Cheese dips appear at the Welcoming Committees.
that Outfall from dips and lead-off ditches be fed
to native plants:

my little
bluestem, my wild rye
my fifteen colors
    of Tyred of Sidon
    hummus

Navy ships are never used
    to initiate ensign dips
but if originator dips ensign

up bloom striped flags.

  -- Rodney Koeneke



Every woman adores ousting a fascist.


 From Manhattan: sights and sounds the sheer how now of it massive.
The hope the air is full of. The poison. We say me always.
I fear speak a fire month of three or years revel in weather terror.
Lower be it so the boom and rain this pace empty.
America the audacity dragon has a daddy complex.

Concentrate: symbols and targets the raw why past of it resonates.
The rock to lie a head upon. The hard place. Lie puts safe under.
I swing hate a pawn orange of hook or by crook cyclone volition.
Uncross the butterfly statue let time wash its wound.
Do you need a minute to diagram this sentence?


You are safe. Code orange.
Shop tax free. Soft target.


  -- Susan Landers


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Spare Room presents


Janet Holmes

Kate Greenstreet


Monday, March 19th, 7:30 pm
Concordia Coffee House
2909 NE Alberta
www.concordiacoffeehouse.com

$5 suggested donation

www.flim.com/spareroom spareroom@flim.com


Upcoming readings

(please note that readings this spring will take place in two different 
venues!)

Sun. 3/25 Mark Wallace/K. Lorraine Graham New American Art Union

Wed. 4/4 Corinne Fitzpatrick/tba Concordia Coffee House
Sun. 4/22 Susanne Dyckman/Rob Schlegel New American Art Union
Thurs. 4/26 Charles Alexander/tba tba

Sat. 5/12 Wig magazine pub. party w/Kit Robinson, Tim Shaner, et al. tba
Sun. 5/20 Rachel Zolf/Elizabeth Treadwell New American Art Union

============================================================

Janet Holmes is author of F2F from University of Notre Dame Press, her
fourth book. She is editor of Ahsahta Press and teaches in the MFA program
at Boise State University.


Kate Greenstreet is the author of case sensitive (Ahsahta Press, 2006)
and Learning the Language (Etherdome Press, 2005). Visit her online
at kickingwind.com.

============================================================


List


Saying /writing
You are the only one I can talk to/

Hearing /reading
And you are the only one I can talk to/

You are not giggling under the tablecloth you are two adults sitting at 
expensive computers touch-typing (oh! yes) resting your index fingers on 
the F and the J waiting for the incoming ping of the instanter message 
like a starting gun

gd 2 c u again
wass^?

your form is never more than an extension of such content



no one sees you

and no one sees you

doing it


-- Janet Holmes



from See It Everywhere


swooning—not going to the UN but
never believed anything could be saved still
love seems a good idea: “God willing
you will find a wife” g-d willing in English

smile officers do and strip club bouncers do

nearly no one going is

~

polluted lagoons are pretty egrets don’t avoid them

~

stuckout limb & a complicated telephone poll series cut off

what can I do / why go home? in my body are biles—yours, too
track by the track and fences self in everyone


-- K. Lorraine Graham





From passages@rdrop.com Sun Mar  4 20:26:30 2007
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(This poem should have been included in the previous Spare Room 
announcement)


*Bridge*

Watching a movie in which I’m in a hospital, being experimented on. They 
tell me it’s
like a dream (my idea, that I’m being experimented on)—that, really, I’m 
blindfolded.

The blindfold is so light, they say I can’t feel it. (This is part of 
the treatment.) But I go
to the mirror and scream: “I can see myself!”

The doctor says yeah, that’s a funny thing.
How you think you can see.

Where there is injury
Where there is doubt
I am melting, or
being flattened by the peach cotton pantsuit,
the saxophone
saved for a new life,
turned into cash

Stopped
to learn what is meant by:
a nice ass (braying) good
sex (boiling) liquid hours (stirring
with an iron bar, eating from your hand)

Stopped
to read a few things
from: the file Ideas/Old Dreams
(his “eye” unseen,
the particular valuelessness
of a dead man’s eyeglasses,
contact lenses)

Where there is despair
“Since the first log fell across water”
it happened like this:

“Doesn’t anybody have the real potato salad?” Wandering from one 
(imaginary) picnic
table to the next. The impulse to get under the table. The answer, in a 
way, is yes.

-- Kate Greenstreet


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Spare Room presents


Marc Wallace

K. Lorraine Graham


Sunday, March 25th
New American Art Union
922 SE Ankeny
www.newamericanartunion.com
$5 suggested donation


www.flim.com/spareroom
spareroom@flim.com


Upcoming readings

(please note: spring readings will take place in two different venues!)

Wed. 4/4 Corinne Fitzpatrick/tba Concordia Coffee House
Sun. 4/22 Susanne Dyckman/Rob Schlegel New American Art Union
Thurs. 4/26 Charles Alexander/tba tba

Sat. 5/12 Wig magazine pub. party w/Kit Robinson, Tim Shaner, et al. tba
Sun. 5/20 Rachel Zolf/Elizabeth Treadwell New American Art Union

============================================================

Mark Wallace's books include Nothing Happened and Besides I Wasn't There;
Sonnets of a Penny-A-Liner; and Temporary Worker Rides A Subway. He is the
author of a multi-genre work, Haze, and a novel, Dead Carnival. With Steven
Marks, he edited Telling It Slant: Avant Garde Poetics of the 1990s 
(University of
Alabama Press). Forthcoming in 2007 is a book of short stories, Walking 
Dreams,
and in 2008 a book of poems, Felonies of Illusion. He is currently 
Assistant Professor
of Creative Writing at California State University San Marcos.

K. Lorraine Graham is the author of two chapbooks: Dear [Blank] I Believe
in Other Worlds (Phylum) and Terminal Humming (Slack Buddha). Moving
Walkways, a full-length chapdisk, is forthcoming from Narrowhouse
Recordings. Her work has appeared or is forthcoming in Foursquare, My
Spaceship, Magazine Cypress, H u n d r e d s, MiPoesias Magazine, No Tell
Motel, Rock Heals, Submodern Fiction, Dusie, Mirage#4/Periodical, Primary
Writing, HOW2, and elsewhere.

============================================================


PHOTOS FROM ABROAD

Castle and sandbox, interleague
craps hoot madhouse you're inside
miscues rattling down the road
delusions unfurled. You've come a long

hacked trap. Hawaiian real estate
not withholding loss or gain
in patented technique, what about
the people on the 39th floor?

Incredible no spill brain caps
offered in the best condos going
thereby leave top bugging systems
posing as heads of state.

We've got a shuttle launch to make
fooled scrunching, a comment
on why we're not home? A shine will counteract
unforseen last minute additions

of another lofty advancement ritual
for pilots too conflicted to fly.
Familiar harrowing transportation,
faked love and a frog in glass,

silly fluke to stake a career
on reports of heavy cheese.
Call it an adventure say.
Contact whoever's left to forget

side by side American sky deals
spinning in a first rate bubble,
two by two abandoned satellites
in the shadow of an international incident.

-- Marc Wallace



from See It Everywhere


swooning—not going to the UN but
never believed anything could be saved still
love seems a good idea: “God willing
you will find a wife” g-d willing in English

smile officers do and strip club bouncers do

nearly no one going is

~

polluted lagoons are pretty egrets don’t avoid them

~

stuckout limb & a complicated telephone poll series cut off

what can I do / why go home? in my body are biles—yours, too
track by the track and fences self in everyone


-- K. Lorraine Graham









From passages@rdrop.com Sun Apr  1 22:15:15 2007
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Subject: [Spare Room Press Release] Liminal presents The Theory of Love,
	April 13-29
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The Theory of Love

a traveling multimedia lecture-opera
from Liminal Performance Group


Collaborators:

David Abel – bass, librettist
Leo Chapeau – contralto, love practitioner
Leo Daedalus – tenor, media/art director*, linguist
Anna Daedalus – soprano, art/media director*
Tomek Karwowski – still photographer*
Samuel Miller – 16mm specialist*
Kate Sanderson – video cameraperson*
Jenny Fern Anderson – vestiary
John Berendzen – baritone, composer, director

* Metaplastic – media and publicity research & design partner


Portland Premiere:

Friday April 13 through Sunday April 15
Reed College, Eliot Hall, rm. 314

Friday April 20 through Sunday April 22
Pacific Northwest College of Art, rm. 201

Friday April 27 through Sunday April 29
Chapman Elementary School auditorium

Fridays and Saturdays at 8:00 and 10:00 pm
Sundays at 8pm

$8–15, pay-what-you-can
Limited seating

For the current week’s venue info, directions, and reservations: 
503-890-2993

liminal@liminalgroup.org
www.liminalgroup.org

==========================================================

Birds are suddenly appearing, and Liminal may have something to do with it.

Liminal's latest original work has arrived, this time in the form of a 
traveling multimedia lecture-opera entitled The Theory of Love. The 
Liminal Love Theorists have been at the blackboard for years of 
research, testing, and experimentation into the hidden workings of Love. 
All of its constituent elements and behaviors have now been successfully 
identified and analyzed, and the resulting formula is no less than 100% 
pure Love. This is the stuff. Not tested on animals, this new 
mixed-genre product proves conclusively that everyone's favorite emotion 
is more than mere hypothesis.

But hasn’t enough been said about Love already?

“It certainly has,” says composer and project leader John Berendzen, 
“and Liminal would like to have the last word.” The Resurrectory (2005) 
was a complex and relentless sonic investigation into Death. The Theory 
of Love wrestles down the only other great subject with equal passion 
and intensity.

Now available for mass consumption in a readily digestible musical 
lecture format, The Theory of Love begins its tour of public 
presentations aimed at educating the senses. Special host partners Reed 
College, Pacific Northwest College of Art (PNCA), and Chapman Elementary 
School (NW) provide the multimedia classroom facilities appropriate for 
the Portland premiere undertaking

Leading the public experiment are singers David Abel (bass) and Ms. Leo 
Chapeau (alto). Their syllabus/libretto (devised by Abel) leads us down 
the corridors of Roland Barthes’ ravishing ruminations on the 
metaphysics of love, through the motherless monkey experiments of 
psychologist Harry Harlow (do we need love more than food?), and on to 
parts unknown. All throughout, the Loveplus video database — produced by 
research & design partner Metaplastic — informs the spoken and sung 
words with its imagery, turning information into beauty, and making 
beauty informative.

This classroom is no study hall, and Liminal assures audiences that 
there will be no risk of nodding off. Using alternative techniques of 
musical hypnosis for accelerated superlearning (pioneered by Soviet-bloc 
and Japanese researchers in the mid-20th century), audiences are invited 
into states of blissful, relaxed attentiveness as mind and sense 
hyper-saturate with full-spectrum vibrations of sound, light, and thought.

An experiment in harmonizing the poetic and the analytical, the sexy and 
the brainy, Love is a foray into a new form of communication, a 
full-body experience of sound, word, and image. As the frequencies of 
the left and right brain synchronize with each other and to the 
environment, The Theory of Love presents solutions to the long-sought 
equation of Love to the conscious and subconscious mind. Finally, you 
are left to answer the question for yourself:

Love -- is it just a theory?


Now celebrating its 10th anniversary, Liminal has produced more than 12 
original projects, winning numerous Portland Critics’ Circle (Drammy) 
awards for its productions of The Seven Deadly Sins, Three Plays Five 
Lives, The Resurrectory, and others.

Metaplastic is a new Portland collaborative art/culture/media 
production, research and design entity, on the web at www.metaplastic.com.

The Theory of Love is funded with support from RACC, The Kinsman 
Foundation, and individual donors. Sponsored by Willamette Week, Reed 
College Theatre Department, and the Pacific Northwest College of Art.

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Spare Room presents


Corinne Fitzpatrick

Geneva Chao


Wednesday, April 4th, 7:30 pm
Concordia Coffee House
2909 NE Alberta
www.concordiacoffeehouse.com

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings

(please note: readings this spring take place in several venues)

Sun. 4/22 Susanne Dyckman / Rob Schlegel   New American Art Union
Thurs. 4/26 Charles Alexander / tba   tba

Sat. 5/12 Wig magazine pub. party w/Kit Robinson, Tim Shaner, et al.
   Concordia Coffee House
Sun. 5/20 Rachel Zolf / Elizabeth Treadwell   New American Art Union

Sun. 6/17 Publication party:
   Maryrose Larkin / Catherine Daly / Donna Stonecipher
   (A Portland - LA - Berlin summit, with new books from all three poets)

============================================================


Corrine Fitzpatrick is the author of the chapbook "On Melody Dispatch"
(Goodbye Better, 2007) and the forthcoming "Zamboagueña" (sona books,
2007). Other poems appear in or on The Brooklyn Rail, EOAGH, Cock Now
and sonaweb. She is the Program Assistant and Friday Late Night Series
Coordinator for the Poetry Project at St. Mark's Church in NYC and she
lives in Brooklyn.


Geneva Chao is the former editor of flux, and has published work in
Boxkite, Can We Have Our Ball Back?, Word for Word, Diagram, and others.
She has contributed translations to Roof Books' anthology of the late
Christophe Tarkos's work, Ma Langue est Poétique and to the DoubleChange
collective's Paris reading series. She has a chapbook forthcoming from
Taxt Press in Oakland.


============================================================

   O, cigarette
   I smoke you
   from bo blow
   perch
   this side of
   the action

   fail to tender consequence
   fail to fight
   the fight
   monetary might
   sooth rectify
   my rump

   an ass you are
   our precedent


   (excerpt from "On Melody Dispatch")

   -- Corinne Fitzpatrick




   april in paris

   a frame within which the limitations of promiscuity devolve. an
   unnumbered classroom outside of which you find the book you lost in
   eighth grade. une invitation á la valse. a host of mythological
   figures who await you with towels and lozenges. the libraries of
   perpetuity. the crookedness of sunlit mornings. the thought that
   the sun will not hurt you in this place. the innocence of discrete
   porcelain measurements. a proposition based upon the idea that life
   is as it is in novels. a proposition based upon the novel. an
   endearment of forwardness. the hope for a better tomorrow. the
   shockingness of the idea of a tomorrow. an accumulation of greed
   augmented by habit. a velvety white paper en dépit de tout ça. the
   dulcet tones of stereolab on the rue du faubourg st-antoine. the
   efforts of a full stop. the best w.c. this side of tokyo. a
   fascination with the fastidious and with the vertiginous sandwich.
   a voluptuousness of wheelbarrows full of orange fruit. a
   reconfiguration of the fork as ornament. a reamplification of the
   potential for violence. an embarassment of red blazers and
   conventions of deference. the recurrence of clémentines as a
   variation on a theme by nietzsche. the willingness to spell
   'nietzsche' in foreign alphabets. the disorder of spring showers.
   the disapparition of nationality. a warning against tooth decay.
   the insistance of a man who speaks in tongues. the insistence on
   the significance of tongues. an importunate assortment of tourists
   forming a chateau-fort around the bathroom. a vase of sangria with
   two straws. the inevitability of coffee. an association of
   hairstyle with national origin. a disavowal of national origin.
   the effusion of unrestrained gesture. the tightening of a circle.
   a tightening of knuckles. the insistence on kissing as many cheeks
   as possible. the omission of the 'r.' a threat of horreurs variés
   en sirop by south asian spies. the concept of the spy novel
   refigured to include linen heists and clandestine appliances. a man
   with a face like a newborn ostrich. a man with a face like the love
   of your life. a disappointment of proustian proportions. a
   disgust with all notions of proportion. an embarassment of
   resemblance. a velvety midnight aux éclats de noisettes. the
   proposal that we mix words and pictures. the proposal that we mix
   cells and fronts. the proposal that we cross-pollinate. an
   abnegation of proposals. the tendency to remain untouched by human
   hands. a standing offer of contact sports. the formation of an
   organisation to make all of this possible. a frame within which the
   limitations of possibility dissolve.



   -- Geneva Chao

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Subject: [Spare Room Press Release] Sunday 4/22, Dyckman/Schlegel, NAAU
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This is a multi-part message in MIME format.
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Spare Room presents


Rob Schlegel

Susanne Dyckman


Sunday, April 22nd, 7:30 pm

New American Art Union
922 SE Ankeny
www.newamericanartunion.com
$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings

(please note: readings this spring take place in several venues)

Thurs. 4/26 Charles Alexander / David Abel
Lindsay & Nita Hill's, 3536 NE 17th Avenue (just above Fremont)

Sat. 5/12 Wig magazine pub. party w/Kit Robinson, Tim Shaner, et al.
Concordia Coffee House

Sun. 5/20 Rachel Zolf / Elizabeth Treadwell
New American Art Union

Sun. 6/17 Publication party:
Maryrose Larkin / Catherine Daly / Donna Stonecipher
(A Portland - LA - Berlin summit, with new books from all three poets)

============================================================

Rob Schlegel lives in Missoula, MT. where he teaches poetry. His 
manuscript Iceblink was a finalist in the New California Poetry Series 
from UC Berkeley Press and his poems and reviews can be found in The 
Boston Review, VOLT, Barrowstreet, AGNI and The Grove Review. Currently 
he is teaching at Linfield College and Portland Community College.

Susanne Dyckman is the author of two chapbooks, Transiting Indigo 
(Etherdome Press) and Counterweight (Woodland Editions). Her first 
full-length book of poetry, equilibrium’s form, has just been released 
by Shearsman Books. Her work has appeared in a number of publications, 
most recently Marginalia and First Intensity. A thesis advisor for the 
University of San Francisco MFA program and an editor of the journal 
Five Fingers Review, she lives in Albany, California, where for the last 
three years she has hosted the Evelyn Ave. Summer Reading Series.

============================================================


Blue & ochre sheets fit tight
the mattress on which we lie
thick pitched crying-out beneath
the winter bedroom’s open
window. Two or three deer
eat bunchgrass & lift their heads
to the sound of our nimble
sheet-screams. Neither arrive
nor depart, but modify constant;
cove’s pliable shore never so
permanent to regard itself
immortal. Bury we may brittle
bones within the ossuary. Crab-
apple or buried sun. Question
the one part of every sound
pining for a different pitch.

from "History of the West"

-- Rob Schlegel


(please see attached Word document for Susanne Dyckman's poem, which 
loses critical formatting in the body of a mail message -- thanks!)

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Subject: [Spare Room Press Release] Artist's Books Exhibit,
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By All Means: Artist’s Books & Objects

featuring work by

Barbara Tetenbaum
Diane Jacobs
Megan O'Connell
Inge Bruggeman
Sarah Horowitz
Rachel Wiecking
David Abel

curated by David Abel for NAAU


May 4 – 27

New American Art Union
922 SE Ankeny, Portland OR 97214
503-231-8294 www.newamericanartunion.org

Gallery hours: Thursday - Sunday, 12:00 - 6:00 pm

Opening Reception: First Friday, May 4, 7:00 - 10:00 pm


For more information, contact:
David Abel passages@rdrop.com 503-233-4562
Ruth Ann Brown naau@earthlink.net 503-231-8294

By All Means is funded in part by the Regional Arts & Culture Council 
and Work for Art

===========================================================


A book is simultaneously object and process, tradition and technology, 
actor and environment.

The work of the seven artists in this exhibition ranges in genre from 
the drawn and printed page, to sculptural objects and installations, to 
conceptual interventions and experimental poetry — all informed by the 
peculiar sensibility of the culture of the book.


By All Means, a collection of multiples published in conjunction with 
the exhibition (and including a new editioned work by each of the 
artists), will be available for purchase at the gallery.



Artist Biographies


Barbara Tetenbaum has been publishing limited edition artist’s books 
under the Triangular Press imprint
since 1979. In 2005, the John Wilson Room at the Multnomah County Public 
Library organized a retrospective exhibition of her work, which resulted 
in the publication of Half-Life: 25 Years of Books by Barbara Tetenbaum 
and Triangular Press. Barbara’s work has been featured in numerous 
one-person exhibitions and installations, and can be found in many 
public collections in the US, Canada, and Europe. She has been a 
Fulbright Lecturer in Germany (1994) and the Czech Republic (2003), and 
is currently Associate Professor and Department Head of Book Arts at 
Oregon College of Art & Craft in Portland, OR.


Diane Jacobs received her MFA in printmaking from San Francisco State 
University in 1996. She was a 2005 recipient of an individual project 
grant from the Regional Arts & Culture Council. The San Francisco 
Foundation’s James D. Phelan Award in printmaking is the most recent of 
Diane’s many awards and fellowships. She has exhibited nationally for 
the past ten years, and her books have been purchased by many important 
public collections, including The Getty Museum, The New York Public 
Library, The San Francisco Museum of Modern Art, The Walker Art Center, 
and Yale and Stanford Universities. She lives in Portland, and teaches 
letterpress printing at Oregon College of Art and Craft.


Megan O'Connell served as the first intern at Minnesota Center for Book 
Arts, later earning a self-designed BA in Book Arts at the University of 
Minnesota in 1988. Studies in intermedia resulted in an extension of her 
repertoire into new methods and nontraditional forms, including 
installation, video, and performance. For twelve years she taught 
courses in the University of Oregon Art Department, centering her 
pedagogy and practice around The Typography Lab. She has recently 
relocated to Portland, Maine, where she is setting up a new endeavor, 
The Bracket[t] Press, and continuing to produce under her former 
imprint, The Dead Skin Press—the products of which are found in major 
collections throughout the country.


Inge Bruggeman received her MFA in Book Arts from the University of 
Alabama, Tuscaloosa, in 1994, and was artist-in-residence at the 
Minnesota Center for Book Arts and Lecturer at the University of 
California at Santa Barbara before moving to Portland. She is a 
recipient of an Oregon Arts Commission Individual Artist Fellowship and 
a Regional Arts & Culture Council Project Grant. In 2006–07, Inge 
exhibited in Portland, Charlotte, New York, Cincinnati, St. Louis, San 
Diego, Rome, Italy, and Rauma, Finland. Her work is also collected 
internationally. Inge is an Adjunct Faculty member in the Book Arts 
department at Oregon College of Art & Craft, and operates her own 
letterpress and design shop, Textura Printing.


Sarah Horowitz grew up in Switzerland and the United States. She 
received a BA in math and physics, with a thesis in printmaking, from 
Hampshire College, and did postgraduate work in printmaking at the 
studio of Hansjurg Brunner in Switzerland; the Edinburgh Printmaker’s 
Workshop in Scotland; and the University of Massachusetts. She has 
taught at the Portland Art Museum and Portland State University, and has 
been an artist member of Atelier Mars since 2000. Sarah’s press, 
Weisedruck, is named after her grandfather’s printing press in 
Switzerland, Schudeldruck, and the Wiese, a stream that marks the border 
between Switzerland and Germany and marked an escape route for Jewish 
refugees during WWII.


Rachel Wiecking has been a voracious reader and writer since childhood, 
but did not start making visual art until her twenties. She earned a BA 
in American Studies/Literature at the University of California at Santa 
Cruz and went on to earn her BFA in Book Arts at the Oregon College of 
Art and Craft in 2002. Her work is inspired by the connections between 
text and the body, and reflects a continuing interest in graphs, maps, 
grids and the gap between these logical systems and the chaos of 
feeling. She is currently the Victor Hammer Fellow in the Book Arts at 
Wells College in Aurora, NY, and continues to operate Matador Press in 
North Portland, to which she will return in 2008.


David Abel is a poet, performer, and interdisciplinary artist, working 
as a freelance editor and bookseller in Portland. He was the proprietor 
of Passages Bookshop & Gallery in Albuquerque in the mid 1990s and the 
Bridge Bookshop in New York’s East Village in the late 1980s. Recent 
publications include Black Valentine (Chax Press, 2006) and Let Us 
Repair (wax paper scissors, 2007, with Anna Daedalus); recent 
performances and installations include The Theory of Love (Liminal 
Performance Group), Eclipse (Light and Sound Gallery, Portland Art 
Center; with John Berendzen), and Signs in Situ (“Land and Language” 
group exhibition, The Land/an art site, Mountainair, NM, with Paul Maurer).


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Correct URL for New American Art Union:
www.newamericanartunion.com

From passages@rdrop.com Sat May 12 15:57:55 2007
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Subject: [Spare Room Press Release] Sunday May 20: Rachel Zolf & Natalie
	Simpson
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Spare Room presents

Two Canadian poets:

Rachel Zolf  (Toronto)  /  Natalie Simpson (Vancouver)


Sunday, May 20th, 7:30 pm

New American Art Union
922 SE Ankeny
www.newamericanartunion.com

Free admission

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings

Sun. 6/17  Maryrose Larkin / Catherine Daly / Donna Stonecipher

Sun. 7/15  John Olson / Roberta Olson

Sun. 8/12  Joseph Bradshaw / Bethany Wright

Sun. 9/2  H.C. ten Berge / Lindsay Hill

============================================================

Rachel Zolf works days as a corporate communications consultant, 
churning out language to fire employees gently or convince them to toe 
the corporate line. Her new book Human Resources (Coach House, 2007) 
"repurposes" for artistic ends the words and energy she wastes daily. 
The book exposes the codes -- programming codes, social codes, political 
codes -- that we live under every day that tell us how to act, what to 
buy, who to love, who to bomb. Zolf is the author of the poetry 
collections Masque (The Mercury Press, 2004) and Her absence, this 
wanderer (BuschekBooks, 1999),  and was the founding poetry editor for 
Walrus magazine.

Natalie Simpson's first collection of poetry, accrete or crumble, was 
published by LINEbooks in 2006. She is also the author of several 
chapbooks, including Dirty Work, a found-poetry polemic against the oil 
industry published in 2005 by No Press. More of her poetry can be found 
in Shift & Switch: New Canadian Poetry (The Mercury Press) and 
Post-Prairie: An Anthology of New Poetry (Talonbooks). She is a former 
managing editor of filling station magazine in Calgary, AB, and now 
lives in Vancouver, BC.

============================================================


We're in a bit of a holding pattern right now providing
you with a pulse on 'inquiring minds' I'd kill this sen-
tence entirely.


On our side of the family my day got totally blown out of
the water push back if you think this is a 'must have.'


We make the call a non-event communication accompa-
niment I can suggest hoarding words like gold.


The new 'go forward' content tailored especially to I'd
wager a guess.


   -- Rachel Zolf, from Human Resources



heart learns, and quantity theories, and quantity theories correct.
the heart learns emotion, when didn't motion beat. the heart learns
beating two by two by sizes. when the heart beats distinction out,
when flash sounds temper.

constant and temper attractions. heart beats to attraction: the heart
is a fine weave.

   -- Natalie Simpson, from "bound out"




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[per usual practice, the suggested admission will be $5]


Spare Room presents

Two Canadian poets:

Rachel Zolf (Toronto) / Natalie Simpson (Vancouver)


Sunday, May 20th, 7:30 pm

New American Art Union
922 SE Ankeny
www.newamericanartunion.com

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings

Sun. 6/17 Maryrose Larkin / Catherine Daly / Donna Stonecipher

Sun. 7/15 John Olson / Roberta Olson

Sun. 8/12 Joseph Bradshaw / Bethany Wright

Sun. 9/2 H.C. ten Berge / Lindsay Hill

============================================================

Rachel Zolf works days as a corporate communications consultant,
churning out language to fire employees gently or convince them to toe
the corporate line. Her new book Human Resources (Coach House, 2007)
"repurposes" for artistic ends the words and energy she wastes daily.
The book exposes the codes -- programming codes, social codes, political
codes -- that we live under every day that tell us how to act, what to
buy, who to love, who to bomb. Zolf is the author of the poetry
collections Masque (The Mercury Press, 2004) and Her absence, this
wanderer (BuschekBooks, 1999), and was the founding poetry editor for
Walrus magazine.

Natalie Simpson's first collection of poetry, accrete or crumble, was
published by LINEbooks in 2006. She is also the author of several
chapbooks, including Dirty Work, a found-poetry polemic against the oil
industry published in 2005 by No Press. More of her poetry can be found
in Shift & Switch: New Canadian Poetry (The Mercury Press) and
Post-Prairie: An Anthology of New Poetry (Talonbooks). She is a former
managing editor of filling station magazine in Calgary, AB, and now
lives in Vancouver, BC.

============================================================


We're in a bit of a holding pattern right now providing
you with a pulse on 'inquiring minds' I'd kill this sen-
tence entirely.


On our side of the family my day got totally blown out of
the water push back if you think this is a 'must have.'


We make the call a non-event communication accompa-
niment I can suggest hoarding words like gold.


The new 'go forward' content tailored especially to I'd
wager a guess.


-- Rachel Zolf, from Human Resources



heart learns, and quantity theories, and quantity theories correct.
the heart learns emotion, when didn't motion beat. the heart learns
beating two by two by sizes. when the heart beats distinction out,
when flash sounds temper.

constant and temper attractions. heart beats to attraction: the heart
is a fine weave.

-- Natalie Simpson, from "bound out"



From passages@rdrop.com Fri Jun  8 19:33:46 2007
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Spare Room presents a remarkable three-way international publication 
party and reading, with


Catherine Daly

Donna Stonecipher

Maryrose Larkin


Sunday, June 17th, 7:30 pm


New American Art Union
922 SE Ankeny
www.newamericanartunion.com

Free admission

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings

Sunday 7/15 John Olson / Roberta Olson
Sunday 8/12 Joseph Bradshaw / Bethany Wright
Sunday 9/2 H.C. ten Berge / Lindsay Hill
Sunday 9/30 Michael Kelleher / tba


============================================================


CATHERINE DALY has 100 ISBNs, and she's going to use them to publish 
writing and art that engages both the eye and ear until the money from 
the sale of her first registered and insured car, a 1998 green Mustang 
convertible, runs out.

Books she's written that have been published are Locket (Tupelo Press, 
05), a golden book of love poems; DaDaDa (Salt, 05), a fat book of love 
poems; Paper Craft (Moria, 06), a two-format book of visual & sound 
poems; To Delite and Instruct (blue lion, 06), a giant manual of 
perception; Secret Kitty (Ahadada, 06), a flarfy eBook critique of 
flarf; and the new Chanteuse / Cantatrice (factory school, 07), a 
Heretical Texts series book about collaboration and complicity that can 
be read from both sides.



DONNA STONECIPHER grew up in Seattle and Teheran. She received her MFA 
from the University of Iowa Writers' Workshop in 2001. She is the author 
of The Reservoir (University of Georgia Press, 2002), and Souvenir de 
Constantinople (Instance Press, 2007). Her own poems and her 
translations of French and German poems have been published in many 
journals. She currently lives in Berlin.

Of Souvenir de Constantinople, Martin Corless-Smith wrote: "the 
impossible quest for self and other was never so luxurious—the letter 
home never more admirably addressed," and Jonathan Raban called the book 
"mesmeric."



MARYROSE LARKIN lives in Portland, Oregon, where she works as a 
freelance researcher. Her first full-length collection, The Book of 
Ocean, has just been released as the inaugural title from Catherine 
Daly's i.e. Press in Los Angeles. She is also the author of Inverse 
(nine muses books) and Whimsy Daybook 2007. Maryrose is a member of 
Spare Room, a small group of people who organize poetry readings and 
other kindred events in Portland. She is the co-editor, with Sarah 
Mangold, of FLASH+CARD, a chapbook and ephemera press.

Andrew Joron writes that in The Book of Ocean, "Larkin has made language 
songful with the crescendos and recessions of bluest ocean, with an 
undertow of the blues . . . This work is informed by a counterpoint 
between time & vision, and so seems to me a poetry of arabesque, which 
(as 19th-century German aestheticians defined it) presents a perfect, & 
perhaps paradoxical, synthesis of enthusiasm & irony."


============================================================


Marguerite Monnot

daughter of an organist
a prodigy

free
editions de travail work
to become a persona non grata
technical problems, interpretation
intuition deaf to evil
what is authentic, national

"One can never train a child carefully enough" youth
today's dissonance sight singing (fixed-Do soflege)
not sight reading tomorrow's consonance
Boulanger
Grand Prix du Disque by L'Academie du Disque
the stranger, a policeman, a hooker whose

screw is slang for prison guard

arrester -- real boyfriend didn't want to work
at the fish market
but her working emasculated him
Ou Sont-Ils Mes Petits Copains?
where did Billy Wilder put song

Irma la Douce

Irma la Douce

where did Billy Wilder put song
Ou Sont-Ils Mes Petits Copains?
but her working emasculated him
at the fish market
arrester -- real boyfriend didn't want to work

screw is slang for prison guard

the stranger, a policeman, a hooker whose
Grand Prix du Disque by L'Academie du Disque
Boulanger
not sight reading tomorrow's consonance
today's dissonance sight singing (fixed-Do soflege)
"One can never train a child carefully enough" youth

what is authentic, national
intuition deaf to evil
technical problems, interpretation
to become a persona non grata
editions de travail work
free

a prodigy
daughter of an organist

Marguerite Monnot

-- Catherine Daly




THE POSTCARD-COLLECTOR’S ADDRESS

I know the world
only through

form. Mosaic
of views. It is said

melancholics
gravitate

toward miniatures.
It is said what is miniature is liberated

from the pretty tyranny
of use. Systematic

kindlers, tonic
postulants, distillations

of the garden
into flat vials, insect’s

Louvre, insect’s
Constantinople, wherever I go

my postcards go
with me. I saw my name

calligraphed on a grain
of rice. I saw the tiara

of spires held
in the pupil’s

dark embrace.
I closed up

the postcards in a jewelry
box where they remain

eternally
local.

-- Donna Stonecipher




Test Garden


have I forgotten to occur

we are a rose hour
or a swimming pool full of sky

Orpheus seed
and the whole of
sidewalk's wet stars

I wrote crows into the sky
today
a winter flock
radius song & eclipse

my hands bloom here through winter
bloom through the belly-up

-- Maryrose Larkin




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Spare Room presents


Hank Lazer

Laura Feldman


Sunday, February 10th, 7:30 pm

New American Art Union
922 SE Ankeny
www.newamericanartunion.com

$5.00 suggested donation


www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

March 2: Steve McCaffery, Karen Mac Cormack, & Mark Owens
March 30: David Meltzer & Michael Rothenberg
April 20: Jordan Scott, Steven Collis, & Donato Mancini
May 3: Portland - San Francisco Neo-Benshi Festival

=====================================================

Hank Lazer's books of poetry include The New Spirit (Singing Horse, 
2005), Elegies & Vacations (Salt, 2004), and Days (Lavender Ink, 2002). 
He is a Professor of English at the University of Alabama, where he is 
also an administrator serving as the Associate Provost for Academic 
Affairs. With Charles Bernstein, he edits the Modern and Contemporary 
Poetics Series for the University of Alabama Press. Lyric & Spirit: 
Selected Essays 1996-2008, just out from Omnidawn (www.omnidawn.com), 
will be available at the reading.

Laura Feldman has published two chapbooks, Café Songs (Apetulous Press, 
1984) and Prosthetic Landscapes (Full Deck, 2002). She was one of the 
founding members of Spare Room, and has been a percussionist with the 
Mambo Queens, a singer with the Afro-Cuban performing ensemble Omo Iré, 
and a percussionist with the Lions of Batucada Samba band in Portland.

=====================================================

an excerpt from "6" (in The New Spirit)


soul upon waters       soul in air       soul goes thinking

 

scribe sky      soonest mended      shut eyes       embrace shining after-image

 

verb without complication

                      that state of being

                    air bubbles

rise to surface       & burst     as we are lived

 

bells toll

                each quarter-hour arrives     departs

       reaches the surface

against that face

        bursts    bell-toll absorbed       within recurring sky


   -- Hank Lazer



How To Write About Africa

1. Maribou stork next to Peace Corps office in Kampala

2. Patricia’s pig

3. Road to district office

4. Catholic church in Bujuni Parish. My house down below

5. My front door

6. Back of my house with my book and Jack fruit --two of my favorite 
past times

7. My first housekeeper Agnes burning my storage pot for water

8. Chapati maker in Karuguza, the nearest trading center

9. Nyamugura Primary school

10. You were burned up other in it. As you meant as it was meant. You 
make peace with your destiny on these roads. Muzungu how are you?

11. Pupils of St. Thereza’s slashing the compound under the direction of 
Sr. John Mary

12. One of the shops in Karuguza

13. Not an unusual way for folks to travel

14. Kitaba Primary School

15. Some of my friends in town

16. Find the Colubus monkey

17. Road to St. Luanga Kikaada primary school. On the way back it rained 
and it took me two hours to go 4 kls. on my bike

18. Daren and her friend coloring

19. A typical family shamba (farm)

20. Me and Jenny one of my language trainers

21. St. Olivia’s Speech Day which happens at the end of the term when 
the parents come to see
their children perform

-- Laura Feldman

From passages@rdrop.com Sat Feb 16 18:49:54 2008
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Spare Room presents


Steve McCaffery

Karen Mac Cormack

mARK


Sunday, March 2nd, 7:30 pm

New American Art Union
922 SE Ankeny
www.newamericanartunion.com

$5.00 suggested donation


www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

March 30: David Meltzer & Michael Rothenberg
April 20: Jordan Scott, Steven Collis, & Donato Mancini
May 3: The New Talkies: Portland - San Francisco Neo-Benshi Cabaret

=====================================================

Steve McCaffery is the author of over twenty-five volumes of poetry and 
three critical books. With bp nichol, he conducted the Toronto Research 
Group, and was a member (also with bp) of the pioneering sound-poetry 
and performance ensemble The Four Horsemen. Recent books of McCaffery's 
poetry include The Black Debt, The Cheat of Words, and Seven Pages 
Missing (in two volumes); his critical titles include North of 
Intention, Prior to Meaning, and the dazzlingly ambitious anthology 
Imagining Language (coedited with Jed Rasula). A founding theorist of 
Language Poetry, his work has been translated into more than a dozen 
languages. A long-time resident of Toronto, he now lives in Buffalo, New 
York, where he is The David Gray Chair of Poetry and Letters at SUNY 
Buffalo.

Born in Luanshya, Zambia, Karen Mac Cormack is the author of thirteen 
books of poetry, including Nothing by Mouth, Quill Driver, Quirks & 
Quillets, At Issue, and Vanity Release. Volume 1 of her polybiography 
Implexures was published by Chax Press / West House Books in 2003, and 
Implexures in its entirety is forthcoming from the same publishers in 
Spring 2008. Her poetry has been translated into French, Portuguese, 
Swedish, and Norwegian. Of dual British / Canadian citizenship, she 
currently lives in the USA and teaches at the State University of New 
York at Buffalo.

Due to no fault of your own, mARK's last name is currently under 
scrutinous examination. His poems are typically found tangled in lines 
between concepts, sound, visual art, and performance. His designs have 
been unveiled in Portland; Seattle; Guadalajara, Mexico; Mexico City; 
Boston; New York City; Nice, France; and Dayton, OH. He organized the 
Northwest Sound Poetry Festivals in Portland, OR, in 2003 and 2004, and 
he is a founding member of Spare Room.

=====================================================


Ars Poetica 5


Poems?


or minotaur catastrophes of concrete objects
in a paper domain?


What's that other word for silence?


The analogical opera?

The little object /b /
before aporia kills it?


-- Steve McCaffery



/faculty of perceiving, as if by hearing, what is inaudible (cf. 
clairvoyance) */


Knowledge of the remarking of instance
closed eyes when touches this sound
that so-to sound accompanying if (sound)
rendered measure musical
unstilled channels nuance to frame’s visual
perhaps as condition not instance
reverberates to part when parcelled particular
juxtapose stream inundate category
cauterized apprehension as in
situ, scene, some-time sounds in
perspectives skew
clavicle and score separate account for
the spilling when nothing is full


/* clairaudience/


-- Karen Mac Cormack




Puddle Poems

1) On a rainy day, open up the comics section of the newspaper.
2) From these comics, cut out all speech bubbles that could be considered
common talk (fragments that could be overheard from any conversation).
3) Separate these speech bubbles into sections according to the number 
of words in them
(a section of bubbles with one word, another section of bubbles with two 
words, etc.).
4) Go outside, setting each section into a separate puddle.
5) Revisit these puddle poems until no words can be found.


Broom (for Alison Knowles)

1) Lay any alphabet on a stage
2) Slowly sweep the letters
3) Pronounce the sounds of the letters in front of the broom
4) Sweep the alphabet off stage, down the aisle and outside


-- mARK


From passages@rdrop.com Sun Feb 24 20:32:12 2008
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*
PLEASE NOTE VENUE AND TIME CHANGE*


Spare Room presents

Steve McCaffery
Karen Mac Cormack
mARK

Sunday, March 2nd, 5:00 pm

Someday Lounge
125 NW 5th Avenue
www.somedaylounge.com

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

March 30: David Meltzer & Michael Rothenberg
April 20: Jordan Scott, Steven Collis, & Donato Mancini
May 3: The New Talkies: Portland - San Francisco Neo-Benshi Cabaret

=====================================================

Steve McCaffery is the author of over twenty-five volumes of poetry and
three critical books. With bp nichol, he conducted the Toronto Research
Group, and was a member (also with bp) of the pioneering sound-poetry
and performance ensemble The Four Horsemen. Recent books of McCaffery's
poetry include The Black Debt, The Cheat of Words, and Seven Pages
Missing (in two volumes); his critical titles include North of
Intention, Prior to Meaning, and the dazzlingly ambitious anthology
Imagining Language (coedited with Jed Rasula). A founding theorist of
Language Poetry, his work has been translated into more than a dozen
languages. A long-time resident of Toronto, he now lives in Buffalo, New
York, where he is The David Gray Chair of Poetry and Letters at SUNY
Buffalo.

Born in Luanshya, Zambia, Karen Mac Cormack is the author of thirteen
books of poetry, including Nothing by Mouth, Quill Driver, Quirks &
Quillets, At Issue, and Vanity Release. Volume 1 of her polybiography
Implexures was published by Chax Press / West House Books in 2003, and
Implexures in its entirety is forthcoming from the same publishers in
Spring 2008. Her poetry has been translated into French, Portuguese,
Swedish, and Norwegian. Of dual British / Canadian citizenship, she
currently lives in the USA and teaches at the State University of New
York at Buffalo.

Due to no fault of your own, mARK's last name is currently under
scrutinous examination. His poems are typically found tangled in lines
between concepts, sound, visual art, and performance. His designs have
been unveiled in Portland; Seattle; Guadalajara, Mexico; Mexico City;
Boston; New York City; Nice, France; and Dayton, OH. He organized the
Northwest Sound Poetry Festivals in Portland, OR, in 2003 and 2004, and
he is a founding member of Spare Room.

=====================================================


Ars Poetica 5


Poems?


or minotaur catastrophes of concrete objects
in a paper domain?


What's that other word for silence?


The analogical opera?

The little object /b/
before aporia kills it?


-- Steve McCaffery



/faculty of perceiving, as if by hearing, what is inaudible (cf.
clairvoyance) */


Knowledge of the remarking of instance
closed eyes when touches this sound
that so-to sound accompanying if (sound)
rendered measure musical
unstilled channels nuance to frame’s visual
perhaps as condition not instance
reverberates to part when parcelled particular
juxtapose stream inundate category
cauterized apprehension as in
situ, scene, some-time sounds in
perspectives skew
clavicle and score separate account for
the spilling when nothing is full


/* clairaudience/


-- Karen Mac Cormack




Puddle Poems

1) On a rainy day, open up the comics section of the newspaper.
2) From these comics, cut out all speech bubbles that could be considered
common talk (fragments that could be overheard from any conversation).
3) Separate these speech bubbles into sections according to the number
of words in them
(a section of bubbles with one word, another section of bubbles with two
words, etc.).
4) Go outside, setting each section into a separate puddle.
5) Revisit these puddle poems until no words can be found.


Broom (for Alison Knowles)

1) Lay any alphabet on a stage
2) Slowly sweep the letters
3) Pronounce the sounds of the letters in front of the broom
4) Sweep the alphabet off stage, down the aisle and outside


-- mARK

From passages@rdrop.com Wed Mar 12 12:07:16 2008
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Reed College and Wesleyan University Press present

A celebration for the release of

The Collected Poems of Philip Whalen
 
Saturday, March 29th
7:30 PM

Reed College
Eliot Chapel
3203 SE Woodstock Blvd.

Free and open to the public. 
A reception will follow the event. 

For more information call 503-777-7755 or e-mail cep@reed.edu

Participants will include Pancho Savery, Michael Rothenberg, David Meltzer,
David Abel, Terri Carrion, Hammond Guthrie, Rodney Koeneke, Moshe Lenske,
Kaia Sand, Lindsay Hill, and Gay Walker. 

 
-------------------------------------------------------
 
The mountain is THERE (between two lakes) 
I brought back a piece of its rock 
Heavy dark-honey color 
With a seam of crystal, some of the quartz 
Stained by its matrix 
Practically indestructible 
A shift from opacity to brilliance 
(The Zenbos say, "Lightning-flash & flint-spark") Like the mountains where
it was made
 
What we see of the world is the mind's 
Invention and the mind 
Though stained by it, becoming 
Rivers, sun, mule-dung, flies- 
Can shift instantly 
A dirty bird in a square time 
 
Gone 
Gone 
REALLY gone 
Into the cool 
O MAMA! 
 
Like they say, "Four times up, 
Three times down." I'm still on the mountain. 
 
-from Sourdough Mountain Lookout




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From passages@rdrop.com Thu Apr  3 09:15:37 2008
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(Note: this is Chris Daniels' first reading in Portland in four and a 
half years, and one of the few that he's given since the publication of 
his extraordinary translation of the Collected Poems of Alberto Caeiro, 
by Fernando Pessoa.)


The Tangent Reading Series presents

Chris Daniels & David Abel

Sat. April 12
7:00 p.m.

Clinton Corner Cafe
2633 SE 21st Ave. in Portland

Admission is free

Come early, and have dinner, if you like. Please stay after and join us 
for conversation and festivities!

www.thetangentpress.org/readings.html

The perfervidly anti-capitalist, godless, internationalist son of 
well-known language-artist maestro David Daniels, CHRIS DANIELS was born 
in NYC in 1956. He dropped out of high school to become a dishwasher and 
never bothered with college. He worked as a cook and played electric 
bass guitar for many years. In 1980, he moved to the San Francisco Bay 
Area, where he still lives and sells his labor at a terrible loss. For 
reasons still unclear to him, he passed the GED and received a high 
school diploma in 1996. His translation, The Collected Poems of Alberto 
Caeiro, by Fernando Pessoa, has just been published by Shearsman. In 
2003, Manifest Press published his translation of selected poems by 
Josely Vianna Baptista, On The Shining Screen of the Eyelids. He is 
working on a huge, fascicular anthology of Lusophone poetry, which he 
publishes and distributes to friends in very small, cheaply produced 
editions.

DAVID ABEL is an editor, bookseller, raga singer, and poker player 
residing in Portland, Oregon. He was the proprietor of the obscure yet 
beloved Bridge Bookshop in New York City in the late 1980s, and Passages 
Bookshop & Gallery in Albuquerque in the mid 1990s. He has collaborated 
with book artists, composers, filmmakers, and other writers on objects, 
performances, and installations, and in recent years has appeared in 
productions with local  experimental theater companies such as defunkt 
and Liminal. In 2006 he curated the exhibition By All Means: Artsts 
Books & Objects for the New American Art Union, editing and producing a 
collection of multiples by the same name. His recent publications 
include the chapbooks Twenty- (Crane's Bill), Let Us Repair (wax paper 
scissors), and Black Valentine (Chax), with an as-yet-untitled 
full-length collection of poetry forthcoming from Chax.



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Spare Room presents

three Canadian poets:

Jordan Scott
Steven Collis
Donato Mancini


Sunday, April 20th, 5:00 pm

Someday Lounge
125 NW 5th Avenue
www.somedaylounge.com

$5.00 suggested donation


www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

May 3: The New Talkies: Portland - San Francisco Neo-Benshi Cabaret
May 18: Joseph Noble & tba
May 25: Steve Dickison & Susan Gevirtz
June: Sarah Mangold & Chris Piuma
July: Jennifer Bartlett & Jim Stewart

=====================================================

Originally from Coquitlam, British Columbia, Jordan Scott now lives and 
works in Toronto. Jordan’s first book of poetry, Silt, was nominated for 
the Dorothy Livesay Poetry Prize. Craig Dworkin writes that his new 
book, Blert, "is the most original poetic project I have read in years. 
Undertaking a 'poetics of stutter,' the book is not primarily a mimetic 
representation of stuttering, or the reproduction of stammered speech, 
but rather an investigation into how the stutter originates." In the 
fall of 2006, Jordan worked on the final sections of Blert while acting 
as the writer in residence at the International Writers’ and 
Translators’ Centre in Rhodes, Greece.

Poet and critic Stephen Collis is the author of three books of poetry, 
Mine (New Star), Anarchive (New Star), and The Commons (Talonbooks). He 
edited Companions & Horizons: An Anthology of Simon Fraser University 
Poetry (WCL), and is the author of Phyllis Webb and the Common Good 
(Talonbooks) and Through Words of Others: Susan Howe and 
Anarcho-Scholasticism (ELS Editions). A member of the Kootenay School of 
Writing collective, he teaches American literature, poetry, and creative 
writing at Simon Fraser University.

Donato Mancini’s first book of poetry, Ligatures (New Star Books 2005) 
was shortlisted for a ReLit award. Just out are his second book, Æthel, 
from New Star, and a new chapbook published by Perro Verlag in the Hell 
Passport series. He has work forthcoming in the anthologies Decalogue 3, 
and Boredom Fighters!, and in the magazines West Coast Line, Open 
Letter, Rampike, and FRONT.

=====================================================


Mandible chatter, a gatling hopscotch:

herring clatter buccal cove, yokel coconut acoustic.

Plankton trek trachea, an ice packed hightop waltz. Walrus flop tongue. 
Chomp tusk onto ice sizzle. Air sac ebb: eco racket dome slow ice 
furrow, dorsal rip katabatic overflow tectonic chattermarks riprap 
frazil ice. Mucous globs gumbotill until syrup sweet lymph between the 
words.



Rehearse in verse. Horn spat. Rest. Speedbag glottal. Rise. Bumblebee 
yodel. Again.


-- Jordan Scott




POEM BEGINNING WITH THE TITLE OF A CY TWOMBLY PAINTING


/Fifty days at Iliam/ writing

A small dictionary of debts

Recollecting recompense the structural epic

How we any of us

Depopulate scorn throwing contingency up

On the wounds ethics wears

Or take from a poem

Small candle window worn to

Speak into tongues most sequent

Wry whisper or voices valves



Look -- it shook secrets from

Our agents who wore mirth

Like a salient whim or

Chipped sugar onto larks’ backs

To swoop from romantic piers

And stupid like we weren’t

Ninjas swooping into politics pretending

Farce and forced open our

Ocular throats to bleat against

Gain and murder’s plunder gore



Or like this painting where

Each brush stroke is borrowed

 From another or coiled

In canvas culture chirps

In another tree language is

Links everything stolen is free

To form affinity frames light

And pure colorists divine ardor

As a way of being

Oneself in another’s delicate skin



This is to be reiteration

Echo quote figure trope troubled

Lyric can you hear me

Now pointillism is my point

To make a mend in

Rent fabrics torn of voice

Scattered and weathered versions thereof

Every poem written as “after”

Subsumed but not bearing debts

Laughter as origin propertyless press



Thus like a fire that

Consumes all before it an

Eagle drops skies scars and

Pallas fierce drives where thickest

Making war or poems without

Fame fled to paint rages

As ages hence we are

Still standing a precipice treed

To overlook our angers destructions

Or boil our debts’ oil

-- Steven Collis

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The Tangent Reading Series presents

Chris Daniels & David Abel

Sat. April 12
7:00 p.m.

Clinton Corner Cafe
2633 SE 21st Ave. in Portland

Admission is free

Come early, and have dinner, if you like. Please stay after and join us 
for conversation and festivities!

www.thetangentpress.org/readings.html


The perfervidly anti-capitalist, godless, internationalist son of 
well-known language-artist maestro David Daniels, CHRIS DANIELS was born 
in NYC in 1956. He dropped out of high school to become a dishwasher and 
never bothered with college. He worked as a cook and played electric 
bass guitar for many years. In 1980, he moved to the San Francisco Bay 
Area, where he still lives and sells his labor at a terrible loss. For 
reasons still unclear to him, he passed the GED and received a high 
school diploma in 1996. His translation, The Collected Poems of Alberto 
Caeiro, by Fernando Pessoa, has just been published by Shearsman. In 
2003, Manifest Press published his translation of selected poems by the 
contemporary Brazilian experimental poet Josely Vianna Baptista, On The 
Shining Screen of the Eyelids. He is working on a huge, fascicular 
anthology of Lusophone poetry, which he publishes and distributes to 
friends in very small, cheaply produced editions.

DAVID ABEL is an editor, bookseller, raga singer, and poker player 
residing in Portland, Oregon. He was the proprietor of the obscure yet 
beloved Bridge Bookshop in New York City in the late 1980s, and Passages 
Bookshop & Gallery in Albuquerque in the mid 1990s. He has collaborated 
with book artists, composers, filmmakers, and other writers on objects, 
performances, and installations, and in recent years has appeared in 
productions with local experimental theater companies such as defunkt 
and Liminal. In 2006 he curated the exhibition By All Means: Artists 
Books & Objects for the New American Art Union, editing and producing a 
collection of multiples by the same name. His recent publications 
include the chapbooks Twenty- (Crane's Bill), Let Us Repair (wax paper 
scissors), and Black Valentine (Chax), with an as-yet-untitled 
full-length collection of poetry forthcoming from Chax.


From passages@rdrop.com Thu Apr 17 10:59:25 2008
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Spare Room presents

three Canadian poets:

Jordan Scott
Steven Collis
Donato Mancini


Sunday, April 20th, 5:00 pm

Someday Lounge
125 NW 5th Avenue
www.somedaylounge.com

$5.00 suggested donation


www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

May 3: The New Talkies: Portland - San Francisco Neo-Benshi Cabaret
May 18: Joseph Noble & tba
May 25: Steve Dickison & Susan Gevirtz
June: Sarah Mangold & Chris Piuma
July: Jennifer Bartlett & Jim Stewart

=====================================================

Originally from Coquitlam, British Columbia, Jordan Scott now lives and
works in Toronto. Jordan’s first book of poetry, Silt, was nominated for
the Dorothy Livesay Poetry Prize. Craig Dworkin writes that his new
book, Blert, "is the most original poetic project I have read in years.
Undertaking a 'poetics of stutter,' the book is not primarily a mimetic
representation of stuttering, or the reproduction of stammered speech,
but rather an investigation into how the stutter originates." In the
fall of 2006, Jordan worked on the final sections of Blert while acting
as the writer in residence at the International Writers’ and
Translators’ Centre in Rhodes, Greece.

Poet and critic Stephen Collis is the author of three books of poetry,
Mine (New Star), Anarchive (New Star), and The Commons (Talonbooks). He
edited Companions & Horizons: An Anthology of Simon Fraser University
Poetry (WCL), and is the author of Phyllis Webb and the Common Good
(Talonbooks) and Through Words of Others: Susan Howe and
Anarcho-Scholasticism (ELS Editions). A member of the Kootenay School of
Writing collective, he teaches American literature, poetry, and creative
writing at Simon Fraser University.

Donato Mancini’s first book of poetry, Ligatures (New Star Books 2005)
was shortlisted for a ReLit award. Just out are his second book, Æthel,
from New Star, and a new chapbook published by Perro Verlag in the Hell
Passport series. He has work forthcoming in the anthologies Decalogue 3,
and Boredom Fighters!, and in the magazines West Coast Line, Open
Letter, Rampike, and FRONT.

=====================================================


Mandible chatter, a gatling hopscotch:

herring clatter buccal cove, yokel coconut acoustic.

Plankton trek trachea, an ice packed hightop waltz. Walrus flop tongue.
Chomp tusk onto ice sizzle. Air sac ebb: eco racket dome slow ice
furrow, dorsal rip katabatic overflow tectonic chattermarks riprap
frazil ice. Mucous globs gumbotill until syrup sweet lymph between the
words.



Rehearse in verse. Horn spat. Rest. Speedbag glottal. Rise. Bumblebee
yodel. Again.


-- Jordan Scott




POEM BEGINNING WITH THE TITLE OF A CY TWOMBLY PAINTING


/Fifty days at Iliam/ writing

A small dictionary of debts

Recollecting recompense the structural epic

How we any of us

Depopulate scorn throwing contingency up

On the wounds ethics wears

Or take from a poem

Small candle window worn to

Speak into tongues most sequent

Wry whisper or voices valves



Look -- it shook secrets from

Our agents who wore mirth

Like a salient whim or

Chipped sugar onto larks’ backs

To swoop from romantic piers

And stupid like we weren’t

Ninjas swooping into politics pretending

Farce and forced open our

Ocular throats to bleat against

Gain and murder’s plunder gore



Or like this painting where

Each brush stroke is borrowed

 From another or coiled

In canvas culture chirps

In another tree language is

Links everything stolen is free

To form affinity frames light

And pure colorists divine ardor

As a way of being

Oneself in another’s delicate skin



This is to be reiteration

Echo quote figure trope troubled

Lyric can you hear me

Now pointillism is my point

To make a mend in

Rent fabrics torn of voice

Scattered and weathered versions thereof

Every poem written as “after”

Subsumed but not bearing debts

Laughter as origin propertyless press



Thus like a fire that

Consumes all before it an

Eagle drops skies scars and

Pallas fierce drives where thickest

Making war or poems without

Fame fled to paint rages

As ages hence we are

Still standing a precipice treed

To overlook our angers destructions

Or boil our debts’ oil

-- Steven Collis




From passages@rdrop.com Mon Apr 21 13:56:04 2008
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*Spare Room and kino21 (San Francisco) bring the first Neo-Benshi Film & 
Poetry Cabaret to Portland*

/Writers/performers from San Francisco and Portland turn down the sound 
and talk back to the movies, updating the lost art of "film-telling."
/

Spare Room (Portland) and kino21 (San Francisco) copresent The New 
Talkies: A Portland–San Francisco Neo-Benshi Cabaret. Inspired by the 
film-tellers, or benshis, of the silent era in Japan, neo-benshi invites 
contemporary artists to turn off the sound and perform their own scripts 
to brief scenes from films of their choosing. Previous installments of 
The New Talkies have brought together diverse audiences of poetry, 
performance, and film fans in New York, San Francisco, and Los Angeles.


*ONE NIGHT ONLY*

Saturday, May 3
7:00 pm

Admission $10 / $5 students

Due to limited seating, advance reservations are required:
email passages@rdrop.com or call 503-233-4562 to reserve tickets and for 
venue details


Performers include Portland-based writers and artists Leo Daedalus and 
David Abel, Maryrose Larkin and Eric Matchett, Kaia Sand, and Rodney 
Koeneke, joined by Bay Area poets and performers David Larsen, Mac 
McGinnes, Cynthia Sailers, and kino21’s Konrad Steiner.

For more information, visit the Spare Room web site at 
www.flim.com/spareroom,
and kino21 at www.kino21.org.

================================

Performer Bios and Curator's Statement

David LARSEN
scene from Logan's Run (Michael Anderson, 1976)
Larsen is a visual artist, writer, curator and teacher, living in San 
Francisco. He co-curated the New Yipes reading series in Oakland with 
Cynthia Sailers in 2005, and solo from 2006 to January 2008. He is a 
scholar of greek and arabic literature and the author of "The Thorn" 
(Faux Press, 2005), whose first benshi performance to a scene from 
"Troy" in 2005 earned wide praise.

Maryrose LARKIN / Eric MATCHETT
scene from The Passion of Jeanne D'Arc (Carl Dreyer, 1928)
Larkin is the author of Inverse (nine muses), The Book of Ocean (i.e.), 
and Whimsy Daybook 2007 (FLASH+CARD). She is coeditor (with Sarah 
Mangold) of Flash+Card, a chapbook and ephemera press. She lives in 
Portland, and is a member of the Spare Room collective. Matchett's 
recent projects include Nest and Milk Crate Madness. Labor Day, an album 
made during August 2007, can be found at www.archive.org. He is member 
of The Taken Girls and Turkey Makes Me Sleepy. Eric is currently 
creating a glitch dub album with Tape Mountain's Jake Anderson.

Leo DAEDALUS / David ABEL
scene from Solaris (Andrei Tarkovsky, 1972)
Daedalus, who works in every medium except needlepoint, is the director 
of Helsinqi, a Portland design/media startup. He dons his videographer 
and performer hats for his first neo-benshi turn, and lives online at 
www.leodaedalus.com. Abel is a Portland wordsmith and gadabout, and one 
of the founding organizers of the Spare Room reading series, now in its 
seventh year. A dyed-in-the-wool Hollis Frampton fan, he was also a 
member of the Four Wall Cinema collective.

Rodney KOENEKE
scene from Mary Poppins (Robert Stevenson, 1964)
Koeneke moved to Portland from San Francisco in 2006 and is the author 
of two books of poems, Musee Mechanique (BlazeVOX, 2006) and Rouge State 
(Pavement Saw, 2003). He has performed neo-benshi pieces for Guru Dutt's 
Bollywood weepie "Pyaasa" (1957) and Paul Wegener's silent classic "The 
Golem" (1921). He co-curates The Tangent Reading Series in Portland with 
poets Kaia Sand and Jules Boykoff.

Kaia SAND
home movie footage by William Cheney, Pacific Northwest inventor and 
machinist (ca. 1935–45)
Sand is the author of interval (Edge Books 2004), selected as a Small 
Press Traffic Book of the Year 2004, and several chapbooks through Dusie 
(www.dusie.org). She co-authored with Jules Boykoff the recently 
released Landscapes of Dissent: Guerrilla Poetry & Public Space (Palm 
Press 2008) and co-curates with Rodney Koeneke & Jules Boykoff the 
Tangent Reading Series in Portland, Oregon, where she lives.

Konrad STEINER
scene from Minority Report (Stephen Spielberg, 2002)
Steiner is a filmmaker and independent curator living in San Francisco. 
His films have shown in off-multiplex screens around the world. He has 
been involved in the production of many live film narration events since 
2003 in SF, New York, and Los Angeles. He was a film programmer at SF 
Cinematheque for four years (2003-2006) and currently with Irina 
Leimbacher he co-curates the kino21 screening series in San Francisco.

Cynthia SAILERS
scenes from The Passion of Anna (Ingmar Bergman, 1969)
Sailers lives in Alameda, California, is the author of Lake Systems 
(Tougher Disguises, 2004), and currently serves on the board of Small 
Press Traffic in San Francisco and is a former co-curator of the New 
Yipes reading series in Oakland. She is currently writing a dissertation 
on narcissism and perversion in pathological group organization for the 
Wright Institute in Berkeley, CA.

Mac McGINNES / Norma COLE
scene from "Judex" (Georges Franju, 1963)
Cole is a poet, translator, visual artist and teacher, painter living in 
San Francisco. She is the author of many books of poetry, including the 
CD-ROM "Scout" (Krupskaya, 2004) and "Collective Memory" (Poetry Center 
and Granary Press, 2006). McGinnes lives in San Francisco and has been 
involved in theater as a director and actor for many years, most 
recently working with Poets Theater productions in San Francisco. Cole 
wrote the script for the scene chosen by McGinnes, who performed it 
first in July 2005 in San Francisco.

Statement

The "benshi" is the name for the accomplished actor/writer who wrote 
scripts to narrate live film in Japan, where the profession reached its 
commercial and popular apex in the 1920s, more than in any other 
country, mainly because of a prosperous and prolific Japanese film industry.

There have been many variations of talking during a movie over the 
global history of film. The long tradition behind this current wave of 
interest in the form includes hecklers in theaters, dads in living rooms 
with their home movies, professional narrators of silent documentaries, 
the reknowned film-tellers in Europe and Asia, right up to TV shows like 
Jay Ward's "Fractured Flickers" in the 1960s and "Mystery Science 
Theater" in the 1990s.

The task of accompanying silent film is usually left to musicians. It 
becomes the task of writers to silence the talkies and revive the image 
whose meaning has been controlled and even restricted by the corporate 
culture of mass entertainment and mass profit. The benshi can take back 
the cinema, and anyone with a DVD player and a remote can give it a shot.

Konrad Steiner

From passages@rdrop.com Fri Apr 25 13:25:42 2008
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from Jim Carmin at the Wilson Room / Collins Gallery:

Pierre Lecuire: livres de poète

May 2 -- June 12, 2008

Born in southern France in 1922, Pierre Lecuire is a poet who has 
devoted his lifetime to making books for his poems. Never content with 
commercial publishing, Lecuire’s books are linked to the European idea 
of livres d’artistes by including the work of printmakers and other 
artists. But he goes beyond that tradition by having a more direct 
connection with his artists. Lecuire has described his ambition simply 
as: “I want to write the poem and build a house for it.”

This exhibition will be the first major West Coast show of Pierre 
Lecuire’s stunning work, and the first in the United States since 1994. 
It features more than 40 books with original art by Henry Moore, Serge 
Charchoune, Geneviève Asse, Fermin Aguayo, Brigitte Simon, Raoul Ubac, 
Etienne Hajdu, and Nicholas de Staël. All materials are generously 
loaned for the exhibition by Mount Angel Abbey Library in St. Benedict, 
Oregon, and were a gift to the abbey from Nicholas Bez.


Opening Reception: Tuesday, May 6, 2008, 6:00 -- 7:30 p.m.

Please join us for the exhibition, refreshments, a brief talk by 
exhibition curator and John Wilson Special Collections Librarian Jim 
Carmin, and comments from Mount Angel Abbey Library Administrator 
Victoria Ertelt.


Gallery Talk: Tuesday, May 20, 2008, 6:30 -- 7:30 p.m.

Please join book artist Inge Bruggeman for an informal talk about Pierre 
Lecuire’s work, its significance and technical details.


C O L L I N S G A L L E R Y
3rd floor, Central Library
801 S.W. 10th Ave., Portland

Gallery hours:
Sun. noon -- 5:00 p.m.
Mon. 10:00 a.m. -- 6:00 p.m.
Tue. & Wed. 10:00 a.m. -- 8:00 p.m.
Thu. -- Sat. 10:00 a.m. -- 6:00 p.m.

For more information, contact:

Jim Carmin
503.988.6287
jimc@multcolib.org
www.multcolib.org/events/collins



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Limited seating -- reserve soon, while remaining seats are still 
available . . .

*****


Spare Room and kino21 (San Francisco)
bring the first Neo-Benshi Film & Poetry Cabaret to Portland


Writers/performers from San Francisco and Portland turn down the sound
and talk back to the movies, updating the lost art of "film-telling."


Spare Room (Portland) and kino21 (San Francisco) copresent The New
Talkies: A Portland–San Francisco Neo-Benshi Cabaret. Inspired by the
film-tellers, or benshis, of the silent era in Japan, neo-benshi invites
contemporary artists to turn off the sound and perform their own scripts
to brief scenes from films of their choosing. Previous installments of
The New Talkies have brought together diverse audiences of poetry,
performance, and film fans in New York, San Francisco, and Los Angeles.


*ONE NIGHT ONLY*

Saturday, May 3
7:00 pm

Admission $10 / $5 students

Due to limited seating, advance reservations are required:
email passages@rdrop.com or call 503-233-4562 to reserve tickets and for
venue details


Performers include Portland-based writers and artists Leo Daedalus and
David Abel, Maryrose Larkin and Eric Matchett, Kaia Sand, and Rodney
Koeneke, joined by Bay Area poets and performers David Larsen, Mac
McGinnes, Cynthia Sailers, and kino21’s Konrad Steiner.

For more information, visit the Spare Room web site at
www.flim.com/spareroom,
and kino21 at www.kino21.org.

================================

Performer Bios and Curator's Statement

David LARSEN
scene from Logan's Run (Michael Anderson, 1976)
Larsen is a visual artist, writer, curator and teacher, living in San
Francisco. He co-curated the New Yipes reading series in Oakland with
Cynthia Sailers in 2005, and solo from 2006 to January 2008. He is a
scholar of greek and arabic literature and the author of "The Thorn"
(Faux Press, 2005), whose first benshi performance to a scene from
"Troy" in 2005 earned wide praise.

Maryrose LARKIN / Eric MATCHETT
scene from The Passion of Jeanne D'Arc (Carl Dreyer, 1928)
Larkin is the author of Inverse (nine muses), The Book of Ocean (i.e.),
and Whimsy Daybook 2007 (FLASH+CARD). She is coeditor (with Sarah
Mangold) of Flash+Card, a chapbook and ephemera press. She lives in
Portland, and is a member of the Spare Room collective. Matchett's
recent projects include Nest and Milk Crate Madness. Labor Day, an album
made during August 2007, can be found at www.archive.org. He is member
of The Taken Girls and Turkey Makes Me Sleepy. Eric is currently
creating a glitch dub album with Tape Mountain's Jake Anderson.

Leo DAEDALUS / David ABEL
scene from Solaris (Andrei Tarkovsky, 1972)
Daedalus, who works in every medium except needlepoint, is the director
of Helsinqi, a Portland design/media startup. He dons his videographer
and performer hats for his first neo-benshi turn, and lives online at
www.leodaedalus.com. Abel is a Portland wordsmith and gadabout, and one
of the founding organizers of the Spare Room reading series, now in its
seventh year. A dyed-in-the-wool Hollis Frampton fan, he was also a
member of the Four Wall Cinema collective.

Rodney KOENEKE
scene from Mary Poppins (Robert Stevenson, 1964)
Koeneke moved to Portland from San Francisco in 2006 and is the author
of two books of poems, Musee Mechanique (BlazeVOX, 2006) and Rouge State
(Pavement Saw, 2003). He has performed neo-benshi pieces for Guru Dutt's
Bollywood weepie "Pyaasa" (1957) and Paul Wegener's silent classic "The
Golem" (1921). He co-curates The Tangent Reading Series in Portland with
poets Kaia Sand and Jules Boykoff.

Kaia SAND
home movie footage by William Cheney, Pacific Northwest inventor and
machinist (ca. 1935–45)
Sand is the author of interval (Edge Books 2004), selected as a Small
Press Traffic Book of the Year 2004, and several chapbooks through Dusie
(www.dusie.org). She co-authored with Jules Boykoff the recently
released Landscapes of Dissent: Guerrilla Poetry & Public Space (Palm
Press 2008) and co-curates with Rodney Koeneke & Jules Boykoff the
Tangent Reading Series in Portland, Oregon, where she lives.

Konrad STEINER
scene from Minority Report (Stephen Spielberg, 2002)
Steiner is a filmmaker and independent curator living in San Francisco.
His films have shown in off-multiplex screens around the world. He has
been involved in the production of many live film narration events since
2003 in SF, New York, and Los Angeles. He was a film programmer at SF
Cinematheque for four years (2003-2006) and currently with Irina
Leimbacher he co-curates the kino21 screening series in San Francisco.

Cynthia SAILERS
scenes from The Passion of Anna (Ingmar Bergman, 1969)
Sailers lives in Alameda, California, is the author of Lake Systems
(Tougher Disguises, 2004), currently serves on the board of Small
Press Traffic in San Francisco, and is a former co-curator of the New
Yipes reading series in Oakland. She is currently writing a dissertation
on narcissism and perversion in pathological group organization for the
Wright Institute in Berkeley, CA.

Mac McGINNES / Norma COLE
scene from "Judex" (Georges Franju, 1963)
Cole is a poet, translator, visual artist, and teacher living in
San Francisco. She is the author of many books of poetry, including the
CD-ROM "Scout" (Krupskaya, 2004) and "Collective Memory" (Poetry Center
and Granary Press, 2006). McGinnes lives in San Francisco and has been
involved in theater as a director and actor for many years, most
recently working with Poets Theater productions in San Francisco. Cole
wrote the script for the scene chosen by McGinnes, who performed it
first in July 2005 in San Francisco.

Statement

The "benshi" is the name for the accomplished actor/writer who wrote
scripts to narrate live to projected films in Japan, where the 
profession reached
its commercial and popular apex in the 1920s, more than in any other
country, mainly because of a prosperous and prolific Japanese film industry.

There have been many variations of talking during a movie over the
global history of film. The long tradition behind this current wave of
interest in the form includes hecklers in theaters, dads in living rooms
with their home movies, professional narrators of silent documentaries,
the reknowned film-tellers in Europe and Asia, right up to TV shows like
Jay Ward's "Fractured Flickers" in the 1960s and "Mystery Science
Theater" in the 1990s.

The task of accompanying silent film is usually left to musicians. It
becomes the task of writers to silence the talkies and revive the image
whose meaning has been controlled and even restricted by the corporate
culture of mass entertainment and mass profit. The benshi can take back
the cinema, and anyone with a DVD player and a remote can give it a shot.

Konrad Steiner




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Spare Room presents


Joseph Noble

Lisa Radon & Tim DuRoche


Sunday, May 18th, 7:30 pm

Concordia Coffee House
2909 NE Alberta
www.concordiacoffeehouse.com

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

June Sarah Mangold & Chris Piuma
July Jennifer Bartlett & Jim Stewart
July 20 Steve Dickison & Susan Gevirtz
August 24 Lee Ann Brown & Cynthia Nelson

=====================================================

Joseph Noble's book of poems, An Ives Set, was published in November of 
2006 by lyric& Press. His essays on the work of George Oppen have 
appeared in Talisman and Aufgabe, and he was a coeditor of the journal 
26 for its first five issues. Poems have appeared in New American 
Writing, Five Fingers Review, The New Review of Literature, Hambone, 
Bird Dog, UrVox, and Aufgabe. He lives in the East Bay, and also plays 
the saxophone.

Poet Lisa Radon and sound artist Tim DuRoche have collaborated on 
sound/text works for jazz, poetry, and theater festivals since 2003. 
They performed "verse.chorus.bridge." on the banks of the Willamette 
River for Gallery Homeland's Scratching the Surface 2006; and created 
"Aqueous (E)vent No. 1," a sound installation for Red 76’s Community 
Jukebox as part of the 2003 Core Sample Exhibition. They are currently 
recording and readying for Scratching the Surface 2008.

=====================================================

the celestial railroad

each track on separate hands
a mockingbird assembles singing
cell shrine to share

breathe the air
eyes thinking

ringing ground
trembles drum skin

throw out the life-line
a world offers homage

firefly and wine
kiss blissful feet

-- Joseph Noble (from An Ives Set)



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Subject: [Spare Room Press Release] Reminder: Sunday 5/18,
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Spare Room presents


Joseph Noble

Lisa Radon & Tim DuRoche


Sunday, May 18th, 7:30 pm

Concordia Coffee House
2909 NE Alberta
www.concordiacoffeehouse.com

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

June 21 Sarah Mangold & Chris Piuma
July tba Jennifer Bartlett & Jim Stewart
July 20 Steve Dickison & Susan Gevirtz
August 24 Lee Ann Brown & Cynthia Nelson

=====================================================

Joseph Noble's book of poems, An Ives Set, was published in November of
2006 by lyric& Press. His essays on the work of George Oppen have
appeared in Talisman and Aufgabe, and he was a coeditor of the journal
26 for its first five issues. Poems have appeared in New American
Writing, Five Fingers Review, The New Review of Literature, Hambone,
Bird Dog, UrVox, and Aufgabe. He lives in the East Bay, and also plays
the saxophone.

Poet Lisa Radon and sound artist Tim DuRoche have collaborated on
sound/text works for jazz, poetry, and theater festivals since 2003.
They performed "verse.chorus.bridge." on the banks of the Willamette
River for Gallery Homeland's Scratching the Surface 2006; and created
"Aqueous (E)vent No. 1," a sound installation for Red 76’s Community
Jukebox as part of the 2003 Core Sample Exhibition. They are currently
recording and readying for Scratching the Surface 2008.

=====================================================

the celestial railroad

each track on separate hands
a mockingbird assembles singing
cell shrine to share

breathe the air
eyes thinking

ringing ground
trembles drum skin

throw out the life-line
a world offers homage

firefly and wine
kiss blissful feet

-- Joseph Noble (from An Ives Set)

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Spare Room presents


Sarah Mangold

Chris Piuma


Saturday, June 21, 7:30 pm

Concordia Coffee House
2909 NE Alberta
www.concordiacoffeehouse.com

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

July 13  Jennifer Bartlett & Jim Stewart
July 20  Steve Dickison & Susan Gevirtz
August 24  Lee Ann Brown & Cynthia Nelson

=====================================================

Sarah Mangold is the author of Household Mechanics (New Issues) and a 
slew of chapbooks, most recently Parlor, a limited edition print and 
e/chap from the Dusie Kollectiv. She publishes Bird Dog, a journal of 
innovative writing and art and co-edits with Maryrose Larkin, 
FLASH+CARD, a chapbook and ephemera press. She lives and works in Seattle.


Chris Piuma moved to Portland eight and a half years ago. He is a 
cofounder of Spare Room and has emceed maybe half their readings to 
date. And now he is leaving. He is moving to Toronto to go to grad 
school. He will miss you terribly.

This is your last chance to see him read in Portland for a while. So 
attendance is mandatory.

The last time attendance was mandatory at one of his readings, he read a 
poem for each of the people who attended the reading -- forty-seven 
poems personalized for the forty-seven people packed into the cafe at 
Borders. He is not going to read a poem personalized for each person who 
comes this time, and yet attendance is once again mandatory.

It will be a nice Saturday night in June in Portland, and you will have 
many options for what to do with yourself that night, but alas 
attendance is mandatory and you will be at the reading. His book 
Exercises in Penmanship came out in 2007 and is available under 
mysterious circumstances. His poetry blog, Buggeryville, can be read at 
http://buggeryville.blogspot.com.

As usual, he is writing what he will read specifically for this reading. 
And -- this cannot be stressed enough -- your attendance at this reading 
is mandatory.

=====================================================


an eternal appropriateness

he likes steps into tricks
and hot half-a-pineapple
dearly now to find hugeness
in human your human form

   -- Sarah Mangold



for Elijah

All these words here are all wrong.
All wrong words are here, among these words.

   -- Chris Piuma



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[The subject line for the original announcement mistakenly stated the 
day as Sunday; please note that it is Saturday.]


Spare Room presents


Sarah Mangold

Chris Piuma


Saturday, June 21, 7:30 pm

Concordia Coffee House
2909 NE Alberta
www.concordiacoffeehouse.com

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com


Upcoming readings:

July 13 Jennifer Bartlett & Jim Stewart
July 20 Steve Dickison & Susan Gevirtz
August 24 Lee Ann Brown & Cynthia Nelson

=====================================================

Sarah Mangold is the author of Household Mechanics (New Issues) and a
slew of chapbooks, most recently Parlor, a limited edition print and
e/chap from the Dusie Kollectiv. She publishes Bird Dog, a journal of
innovative writing and art and co-edits with Maryrose Larkin,
FLASH+CARD, a chapbook and ephemera press. She lives and works in Seattle.


Chris Piuma moved to Portland eight and a half years ago. He is a
cofounder of Spare Room and has emceed maybe half their readings to
date. And now he is leaving. He is moving to Toronto to go to grad
school. He will miss you terribly.

This is your last chance to see him read in Portland for a while. So
attendance is mandatory.

The last time attendance was mandatory at one of his readings, he read a
poem for each of the people who attended the reading -- forty-seven
poems personalized for the forty-seven people packed into the cafe at
Borders. He is not going to read a poem personalized for each person who
comes this time, and yet attendance is once again mandatory.

It will be a nice Saturday night in June in Portland, and you will have
many options for what to do with yourself that night, but alas
attendance is mandatory and you will be at the reading. His book
Exercises in Penmanship came out in 2007 and is available under
mysterious circumstances. His poetry blog, Buggeryville, can be read at
http://buggeryville.blogspot.com.

As usual, he is writing what he will read specifically for this reading.
And -- this cannot be stressed enough -- your attendance at this reading
is mandatory.

=====================================================


an eternal appropriateness

he likes steps into tricks
and hot half-a-pineapple
dearly now to find hugeness
in human your human form

-- Sarah Mangold



for Elijah

All these words here are all wrong.
All wrong words are here, among these words.

-- Chris Piuma




From passages@rdrop.com Fri Jun 13 12:40:51 2008
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UDLE presents a reading by

Bethany Ides &
Emily Kendal Frey

with musical guest Arrington de Dionyso (of Old Time Relijun)


Thursday, June 19th
7:00 pm

The Mizpah Church
2456 SE Tamarack Ave.
www.funkychurch.com

Admission $5 – 12, sliding scale
(admission includes hand-sewn chapbook, wine, beer, and light snacks)


About the readers:

Bethany Ides (née Wright) is a poet, performance-installation artist, 
teacher & independent curator, currently residing in Portland, Oregon. 
In 2005, she mounted versions of her solo performance piece, "Hark the 
Harbingers," at the Brooklyn Museum of Art, PS122, and the Zieher-Smith 
Gallery in NYC, and at Nocturnal Gallery in Portland. From 2002-07, she 
co-edited FO (A) RM magazine, an interdisciplinary forum for arts & 
research [see: foarm.artdocuments.org]. Her fourth chapbook, "From 
Whence Undone," is soon forthcoming from Cosa Nostra Editions [see: 
cosanostra-editions.com]. Ides teaches time-based arts and art theory at 
the Pacific Northwest College of Art in Portland.

Emily Kendal Frey lives in Portland, Oregon. Her work has been published 
in DIAGRAM, Mudlark, and Octopus, and recent work is forthcoming from 
Word For/Word, Spinning Jenny, and Knock. Additionally, collaborative 
work with Sarah Bartlett will appear in Portland Review, Bat City 
Review, and through horse less press. Poems from Something Should Happen 
at Night Outside, a collaboration with Zachary Schomburg, will appear in 
Pilot and Diode.


About the music:

Arrington de Dionyso <http://www.myspace.com/arringtondedionyso> uses 
performance as a vehicle for driving through the nameless territories 
held between surrealist automatism, shamanic seance, and the folk 
imagery of rock and roll. Arrington performs on the bass clarinet, jaw 
harps, and his voice with a distinctly multiphonic ability inspired by 
Tuvan throatsinging and the ecclesiastics of Albert Ayler and Don Van 
Vliet. He tours constantly, and has performed and/or recorded with 
notable improvisers throughout the U.S.A., Canada, Italy, France, Israel 
and Lithuania. He presents workshops on improvising with the voice in 
conjunction with his travels around the world.


About UDLE:

The Unwin-Dunraven Literary Ecclesia is a new literary convergence, 
encompassing a quarterly reading & performance series, finespun 
publications, special events, and extensive online archives, emerging in 
flux with our interest in Gnostic narrative, imagined cartographies, 
oracular utterance, and the alchemy of language.

www.unwin-dunraven.org

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The Douglas F. Cooley Memorial Art Gallery, Reed College
in association with the current exhibition

"Jess: To and From the Printed Page"

present an audiovisually illustrated lecture

*"Eye of the Ear: Jess and the Poets"*

by Steve Dickison

both preceded and followed by music, featuring
the Flash Choir performing Sarah Dougher,
and Tim DuRoche & Co.

Saturday, July 19, 7:00 pm
Reed College Chapel, Elliot Hall
Admission free
http://www.reed.edu/gallery/

    /and/

Spare Room presents a poetry reading by

*Steve Dickison & Susan Gevirtz*

Sunday, July 20, 7:30 pm

Full details below!

=================================================

"Jess: To and From the Printed Page" is currently on view through Sunday 
July 20
at the Cooley Art Gallery, Reed College, 3203 SE Woodstock Blvd.
Tuesday through Sunday, 12:00 - 5:00 pm

This traveling exhibition brings together collages, paintings, drawings, 
illustrated books, video, audio, and archival materials, to give an 
overview of the activity of California artist Jess Collins, lifelong 
partner of poet Robert Duncan and one of the great twentieth century 
practitioners of collage and allied arts.

As part of a closing event for the show, on Saturday July 19th members 
of the Flash Choir will perform a new choral work by Sarah Dougher 
(based on the Robert Duncan and Jess book Caesar's Gate), commissioned 
by the Cooley Art Gallery.

Following this performance, Steve Dickison, Director of the Poetry 
Center and American Poetry Archives at San Francisco State University, 
will give a lecture on Jess and the poets, illustrated with slides and 
audio excerpts from the Archives:

/This talk illuminates the world and work of the poets in response to 
whose poetry Jess made original art, from the early post-World War II 
San Francisco milieu till the mid-1990s. By featuring original audio 
recordings from the Poetry Center Archives, audiences hear rare recorded 
voices of Robert Duncan, Jack Spicer, Helen Adam, visitors to San 
Francisco such as Charles Olson, and Jess himself, alongside later 
inheritors of that tradition. The talk will also situate Jess among 
other local artists who created original works in response to and in 
collaboration with poets, Jess’s contemporaries Wallace Berman, Bruce 
Conner, Fran Herndon, Robert LaVigne, among others, and pay tribute to 
the innovative publishers who made the actual books, too often 
overlooked as artists themselves./

The lecture will be followed by a reception on the Reed College Lawn, 
with musical guests Tim DuRoche & Co.

The event is free and open to the public.

================================================

Then . . . Spare Room presents
a poetry reading by

Steve Dickison and Susan Gevirtz

Sunday July 20, 7:30 pm


Concordia Coffee House
2909 NE Alberta
www.concordiacoffeehouse.com

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

================================================

Steve Dickison has directed the Poetry Center and American Poetry 
Archives at San Francisco State University since 1999. A poet and 
writer, with special focus on the history of poetry and related arts in 
San Francisco, he curated the exhibition Poetry and its Arts: Bay Area 
Interactions 1954–2004 at the California Historical Society, during 
Winter 2005, and more recently the exhibition Recent Visitors: Poets & 
Publishing on the Bolinas Scene in the Seventies at the Book Club of 
California. Editor-publisher of the small press Listening Chamber, he 
also co-edits, with David Meltzer, /Shuffle Boil/, an occasional music 
magazine with poet/artist/musician contributors. /Disposed/, a book of 
poetry, was published by Post Apollo Press in 2007.

Susan Gevirtz's most recent books include /THRALL/ (Post Apollo) and 
/Omatic & After St. John/ (dpress), and she has books forthcoming from 
Kelsey Street, Trafficker, and eohippus labs. She was an assistant 
professor for ten years at Sonoma State University, and now teaches in 
the MFA in Poetry program at Mills College. With Greek poet Siarita 
Kouka she runs The Paros Symposium on the island of Paros, an annual 
meeting of poets and translators from Greece and the United States.

================================================


*‘the friend’*


that the bird with the enormous velvet nerve-body
articulated legs more like an insect than I knew
greedy mouth wanted to feed out of my mouth
apparently they are always hungry
“what they are screaming is /ada ada/ the word for pain”
the verb was the same as in spanish /ayudar/
echo’d “are you there?” or in arabic /wadada/

“tears become pears for mothers to feed their children”

/19iii08 for McN/


*Steve Dickison*




*In this place which Legend Posits *

A silence fell upon the land. More quiet than a map. The sounds of place 
having to do with the irreducibility and seamlessness of story. Airlines 
want us to forget this. One body feeds sleep to the one next to it. And 
the next imagines it as her own. For example.


*Susan Gevirtz*


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Portland book launch for

/Landscapes of Dissent: Guerrilla Poetry & Public Space/

by Jules Boykoff & Kaia Sand


Sunday, August 3
4:00 pm

Powell's Books on Hawthorne
3723 SE Hawthorne Blvd.
Free admission


Public space is a showground for social relations and power dynamics, 
and much of this space is inscribed with language. Documenting four 
cases across the United States — Poetry Is Public Art (PIPA) (New York), 
Poet Activist Community Extension (PACE) (Philadelphia), Agit-Truth 
Collective (Portland), and Sidewalk Blogger (Honolulu) — /Landscapes of 
Dissent/ investigates how contemporary poets in the United States are 
attempting to politicize public space by strategically inserting signs 
and broadsides into the public sphere in an effort to re-appropriate, 
reclaim, and resist. Sometimes passersby become collaborative authors, 
as they deface or destroy the poetry, thereby entering into a public 
conversation where competing claims are recorded. While 
neoliberal-driven privatization pulls more and more public space into 
its vortex, these collaborative, micro-political transgressions 
challenge values that trend toward commercialism and legibility, instead 
asserting language that attempts to resist commodification.


"/Landscapes of Dissent/ is a prolegomenon toward a new topoiesis--the 
creation of a new topos, a new place. This book brings forth not only 
the discussion of several practices of disensual use of consensual 
("public") space, but also gives away ideas & insights about what takes 
place thanks to a poetry that makes space in a polis made diapolis. 
Reading this book I found myself feeling an unknown political emotion 
that prompts my passive reader to become a reader ready to engage 
(again) the streets--energized by this discussion in which writing is 
hope & hope is action. Make it public!" —Heriberto Yépez


*****

Kaia Sand authored the poetry collection /interval/ (Edge Books 2004), 
selected as a Small Press Traffic Book of the Year. She created a dusie 
kollektiv (_www.dusie.org_) chapbook for her poem /tiny arctic ice/, 
which was re-configured as a broadside by Bowerbox Press and as an 
artist book by Jim Dine. She is creating multi-media investigations of 
political histories lodged in Pacific Northwest of the United States, as 
well as a series of poems collaged from dystopic documents. Sand 
co-edits the Tangent Press (www.thetangentpress.org).

Jules Boykoff is the author of /Beyond Bullets: The Suppression of 
Dissent in the United States/ (AK Press, 2007), /The Suppression of 
Dissent: How the State and Mass Media Squelch USAmerican Social 
Movements /(Routledge, 2006), and /Once Upon a Neoliberal Rocket Badge 
/(Edge Books, 2006). He co-curates the Tangent Reading Series in 
Portland, Oregon with Rodney Koeneke and Kaia Sand.

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WRITERS IN DANGER: Human Rights Research and Advocacy
Marylhurst University

Martha Gies, instructor
www.marthagies.blogspot.com

In collaboration with the PEN Freedom to Write Committee, we will 
examine the individual case files of international writers who are 
currently silenced or imprisoned, in order to become advocates for their 
freedom to write. Our interests include the cultural context that 
surrounds each writer’s art, and the social or political response that 
art has produced. Students will compile a literary bibliography for 
their assigned writer and write country reports and letters of advocacy 
for his or her political case. This class offers participants the 
opportunity to use research and writing to bring attention to the 
predicament of persecuted writers around the world.

(Also see extended course description and list of potential cases at 
bottom of message.)

"I send you this letter [to give] you my sincere thanks for your 
decisive and supportive help that achieved my complete liberty. What you 
achieved defeated the fabricated lies that unjustly kept me 10 years in 
prison. To the students, a big long-distance embrace. I'll always keep 
them in my heart."
-- Juan Jara, writing to Gies students from Peru upon his 2004 release


Three Saturdays, 9:00 am - 4:30 pm: 9/27, 10/18, 12/6
Plus an evening presentation open to the public on Wednesday, December 
10 at 7:30 pm.

Call registrar at Marylhurst University: (503) 699-6267 after August 18. 
(Fall term registration opens at 8:00 am on August 18.)

Class is offered through department of English Literature & Writing, 
$579 (or 3 hours academic credit for $1,047).



Extended Course Description:

This course is based on three concepts:

1) Everyone has the right to freedom of opinion and expression; this 
right includes freedom to hold opinions without interference and to 
seek, receive and impart information and ideas through any media and 
regardless of frontiers. (Article 19, Universal Declaration of Human 
Rights)

2) Even democracies will sometimes act to suppress free expression.

3) Citizens can serve the cause of freedom and justice by defending the 
rights of writers to express ideas and report the news without fear of 
reprisal.

This class will challenge you to become a better citizen by making you a 
better critical thinker. You will sharpen your research and analysis 
skills and will hone your abilities to examine current events in the 
context of the media and of history.

Students will be given a choice of cases to adopt. Unless otherwise 
noted, our cases come from the lists of International PEN, the world's 
oldest human rights organization. Founded in 1921 to dispel national, 
ethnic, and racial hatreds, PEN defends free expression and writers in 
prison or in danger of imprisonment for their work. Some of our cases:


Potential cases:

Burma: MAUNG Thura ('Zargana') is a comedian, poet, and opposition 
activist who was among the many arrested during the recent crackdown 
against pro-democracy demonstrations in Burma that broke out in late 
September 2007.

Iran: Yaghoub YADALI is an award-winning writer who has published novels 
and short stories. In September 2007, he was detained for 41 days on 
charges of insult, libel and publication of false information in two of 
his fictional works, though both had been granted approval for 
publication from Iran's Ministry of Guidance.

Mexico: Lydia CACHO RIBEIRO is an author, journalist and social 
activist. On trial for criminal defamation throughout 2006 and acquitted 
in January 2007, Cacho continues to receive constant death and other 
threats and is under 24-hour protection.

Mexico: Alfredo JIMÉNEZ MOTA was a crime reporter who, at age 26, 
disappeared while publishing articles on local drug traffickers for the 
Hermosillo daily El Imparcial in the north-western state of Sonora. 
Jiménez has not been seen since April 2, 2005, and is presumed dead.

United States: Leonard PELTIER, a citizen of the Anishinabe and Lakota 
Nations, is a writer and Indigenous rights activist. Peltier's 
participation in the American Indian Movement led to his involvement 
with the Pine Ridge Indian Reservation in South Dakota, where a tragic 
shoot-out occurred in 1975. Wrongfully convicted of murder, Peltier has 
been serving time in federal prison since 1977. (Amnesty International 
case)

United States: Yassin AREF is an Iraqi Kurd who immigrated to the U.S. 
as a United Nations refugee. In 2006, he was convicted of supporting 
terrorists and sent to a federal prison. According to PBS investigative 
journalist Robert McNeill, the "terrorist plot" that lies at the center 
of the case was entirely fictitious. Aref is a poet and the author of a 
new memoir. (Muslim Solidarity Committee case)

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--------------020401090003010806040208
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Sixth Annual Richard Foreman Mini Festival

A fundraiser for Performance Works Northwest

Friday, August 15
Saturday, August16
(different performers each night)
8:30 pm

Performance Works NW
4625 SE 67th
(between Foster and Holgate)
http://www.performanceworksnw.org

Tickets $15-$50 for one night; $25-$75 for both nights, sliding scale.
Reservations: 503-777-1907 or http://www.brownpapertickets.com 
<https://www.brownpapertickets.com/event/40054>


Friday:
Action / Adventure * Chuck Barnes & Lois Leveen * Tony Christy * 
Arrington de Dionyso * Ian Greenfield & Jason Eksuzian * Faith Levine * 
Our Shoes Are Red / The Performance Lab

Saturday:
dry, like a sedan * David Abel & Eric Matchett * Tim DuRoche & Lisa 
Radon * Lily Gael * Kaj-anne Pepper * Francesca Sanders & Kerry Sorci * 
Sadajenenai

Both nights: Linda Austin & the Boris & Natasha Dancers

Once again a scintillating array of Portland performing and media 
artists rise to the challenge of creating a piece in ten days by 
cutting, pasting, mangling or otherwise adapting text selected from 
avant-garde writer/director Richard Foreman's online notebooks: 
http://ontological.com/RF/notebooks.html

At 12:01 am on August 5, the performers were given the text plus a few 
simple restrictions; ten days later audiences will thrill to the 
amusing, shocking and enlightening results in two different programs 
over two nights of avant fun.

Lilly Chamberlain and Cyndy Chan are catering the event with savory, 
sweet, and refreshing summer treats. Beer, wine and soft drinks will be 
available.


--------------020401090003010806040208
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit

<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
Sixth Annual Richard Foreman Mini Festival<br>
<br>
A fundraiser for Performance Works Northwest<br>
<br>
Friday, August 15<br>
Saturday, August16 <br>
(different performers each night)<br>
8:30 pm<br>
<br>
Performance Works NW<br>
4625 SE 67th <br>
(between Foster and Holgate)<br>
<a class="moz-txt-link-freetext" href="http://www.performanceworksnw.org">http://www.performanceworksnw.org</a><br>
<br>
Tickets $15-$50 for one night; $25-$75 for both nights, sliding scale.<br>
Reservations: 503-777-1907 or <a class="moz-txt-link-freetext" href="http://www">http://www</a>.<a
 href="https://www.brownpapertickets.com/event/40054" target="_blank">brownpapertickets.com</a>
<p><br>
Friday: <br>
Action / Adventure * Chuck Barnes &amp; Lois Leveen * Tony Christy *
Arrington de Dionyso * Ian Greenfield &amp; Jason Eksuzian * Faith
Levine * Our Shoes Are Red / The Performance Lab<br>
</p>
<p>Saturday:<br>
dry, like a sedan * David Abel &amp; Eric Matchett * Tim DuRoche &amp;
Lisa Radon * Lily Gael * Kaj-anne Pepper * Francesca Sanders &amp;
Kerry Sorci * Sadajenenai<br>
</p>
<p>Both nights: Linda Austin &amp; the Boris &amp; Natasha Dancers<br>
<br>
</p>
<p>Once again a scintillating array of Portland performing and media
artists rise to the challenge of creating a piece in ten days by
cutting, pasting, mangling or otherwise adapting text selected from
avant-garde writer/director Richard Foreman's online notebooks:
<a class="moz-txt-link-freetext" href="http://ontological.com/RF/notebooks.html">http://ontological.com/RF/notebooks.html</a></p>
<p>At 12:01 am on August 5, the performers were given the text plus a
few simple restrictions; ten days later audiences will thrill to the
amusing, shocking and enlightening results in two different programs
over two nights of avant fun.</p>
<p>Lilly Chamberlain and Cyndy Chan are catering the event with savory,
sweet, and refreshing summer treats. Beer, wine and soft drinks will be
available.</p>
</body>
</html>

--------------020401090003010806040208--

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Due to unforeseen circumstances, Lee Ann Brown has had to cancel her 
trip to the Northwest this month.

For that reason, there will be no Spare Room reading on August 24; in 
its stead, Cynthia Nelson and Maggie Nelson (from L.A.; no relation) 
will read on Sunday, September 14.

Full details to follow soon.

Our apologies for any inconvenience.


Spare Room

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Spare Room presents


*Maggie Nelson* (L.A.)

*Cynthia Nelson* (Portland)


Sunday, September 14
7:30 pm

Concordia Coffee House
2909 NE Alberta
www.concordiacoffeehouse.com

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com


=============================================

Upcoming readings:

Saturday, October 11: Chris Vitiello / Jeanne Heuving
November tba: Doug Nufer / Zachary Schomburg
December 18: Judith Roitman / Stanley Lombardo
January 11: Endi Hartigan / Maryrose Larkin
February 1: Laynie Browne / tba

=============================================

Maggie Nelson is the author of four books of poetry, most recently 
/Something Bright, Then Holes/ (Soft Skull Press, 2007) and /Jane: A 
Murder/ (Soft Skull, 2005). She is also the author of two books of 
nonfiction, /The Red Parts: A Memoir/ (Free Press, 2007), and a critical 
study, /Women, the New York School, and Other True Abstractions/ 
(University of Iowa Press, 2007). Her next book will be a work of 
experimental prose about the color blue titled /Bluets/ (forthcoming 
from Wave Books in Fall 2009). After many years of living and working in 
New York City, she joined the faculty of the School of Critical Studies 
at California Institute of the Arts (CalArts) in Los Angeles in 2005.

Cynthia Nelson is a poet and a musician who lives in Portland, Oregon. 
She has toured widely with her bands Ruby Falls, Retsin, The Naysayer, 
and Cynthia Nelson. She teaches music at the Rock 'n' Roll Camp for 
Girls and is currently working on a piano-based third solo album of 
songs (see www.nonstopco-op.com for the first two). Her recent books 
include /Kentucky Rules/ (Soft Skull, 2003), and last year she published 
work in /6x6/, an Ugly Duckling Presse chapbook, and coedited the 
radical fiction journal /Tantalum/.

=============================================


WHAT IT IS

It is what
it is. But
what is it?

What it is--

Some soft
tautology

whose two terms
are touch

Time to give, time
to give it up.


-- Maggie Nelson



AUTUMN AT RICE

the countergirl has a cold
i am feeding ginger candy 

quietly the scene
passes into evening

givenchy
she smiles as if it's plenty

lucite skate wheels
in the candy setting
 
sun west after
noon please

play with
me 

rice


-- Cynthia Nelson





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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
Spare Room presents<br>
<br>
<br>
<b>Maggie Nelson</b> (L.A.)<br>
<br>
<b>Cynthia Nelson</b> (Portland)<br>
<br>
<br>
Sunday, September 14<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<a class="moz-txt-link-abbreviated" href="http://www.concordiacoffeehouse.com">www.concordiacoffeehouse.com</a><br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
<br>
=============================================<br>
<br>
Upcoming readings:<br>
<br>
Saturday, October 11: Chris Vitiello / Jeanne Heuving<br>
November tba: Doug Nufer / Zachary Schomburg<br>
December 18: Judith Roitman / Stanley Lombardo<br>
January 11: Endi Hartigan / Maryrose Larkin<br>
February 1: Laynie Browne / tba<br>
<br>
=============================================<br>
<br>
Maggie Nelson is the author of four books of poetry, most recently <i>Something
Bright, Then Holes</i> (Soft Skull Press, 2007) and <i>Jane: A Murder</i>
(Soft Skull, 2005). She is also the author of two books of nonfiction, <i>The
Red Parts: A Memoir</i> (Free Press, 2007), and a critical study, <i>Women,
the New York School, and Other True Abstractions</i> (University of
Iowa Press, 2007). Her next book will be a work of experimental prose
about the color blue titled <i>Bluets</i> (forthcoming from Wave Books
in Fall 2009). After many years of living and working in New York City,
she joined the faculty of the School of Critical Studies at California
Institute of the Arts (CalArts) in Los Angeles in 2005.<br>
<br>
Cynthia Nelson is a poet and a musician who lives in Portland, Oregon.
She has toured widely with her bands Ruby Falls, Retsin, The Naysayer,
and Cynthia Nelson. She teaches music at the Rock 'n' Roll Camp for
Girls and is currently working on a piano-based third solo album of
songs (see <a class="moz-txt-link-abbreviated" href="http://www.nonstopco-op.com">www.nonstopco-op.com</a> for the first two). Her recent books
include <i>Kentucky Rules</i> (Soft Skull, 2003), and last year she
published work in <i>6x6</i>, an Ugly Duckling Presse chapbook, and
coedited the radical fiction journal <i>Tantalum</i>.<br>
<br>
=============================================<br>
<br>
<br>
WHAT IT IS<br>
<br>
It is what<br>
it is. But<br>
what is it?<br>
<br>
What it is--<br>
<br>
Some soft<br>
tautology<br>
<br>
whose two terms<br>
are touch<br>
<br>
Time to give, time<br>
to give it up.<br>
<br>
<br>
-- Maggie Nelson<br>
<br>
<br>
<br>
AUTUMN AT RICE<br>
<br>
the countergirl has a cold<br>
i am feeding ginger candy&nbsp;<br>
<br>
quietly the scene<br>
passes into evening<br>
<br>
givenchy<br>
she smiles as if it's plenty<br>
<br>
lucite skate wheels<br>
in the candy setting<br>
&nbsp;<br>
sun west after<br>
noon please<br>
<br>
play with<br>
me&nbsp;<br>
<br>
rice<br>
<br>
<br>
-- Cynthia Nelson<br>
<br>
<br>
<br>
<br>
</body>
</html>

--------------050200040004010805060509--

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Judith Barrington, Ruth Gundle, Ursula K. Le Guin and the Soapstone Board
invite you to join in celebrating ten years of writing residencies at 
Soapstone

Wednesday, September 17
7:00 to 9:30 p.m.

 Buchan Building
1226 SW Salmon

Nibbles, no-host wine and soft drinks

The evening will include: a performance piece created from the Wind and 
Water Studio journals by Kathleen Worley and performed by professional 
actors; a short slide show of Soapstone's history and the community that 
created and sustains it; and two poetry broadsides by Mimi Khalvati, 
"Soapstone Creek" and Soapstone Retreat," which will be given away to 
everyone who attends.

Free, and open to the public, sponsored by the First Unitarian Church 
and funded in part by grants from the Regional Arts and Culture Council 
and the Oregon Arts Commission.


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Soapstone, A Writing Retreat for Women
622 SE 29th Avenue
Portland, OR 97214
503/233-3936
http://www.soapstone.org
retreats@soapstone.org

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<div class="moz-text-html" lang="x-western"><font face="" size="3">Judith
Barrington, Ruth Gundle, Ursula K. Le Guin and the Soapstone Board<br>
invite you to join in celebrating ten years of writing residencies at
Soapstone<br>
<br>
Wednesday, September 17<br>
</font><font face="" size="3">7:00 to 9:30 p.m.<br>
<br>
</font><font face="" size="3">&nbsp;Buchan Building<br>
1226 SW Salmon<br>
<br>
Nibbles, no-host wine and soft drinks<br>
<br>
The evening will include: a performance piece created from the Wind and
Water Studio journals by Kathleen Worley and performed by professional
actors; a short slide show of Soapstone&#8217;s history and the community
that created and sustains it; and two poetry broadsides by Mimi
Khalvati, "Soapstone Creek" and Soapstone Retreat," which will be given
away to everyone who attends. <font color="#003300"><br>
<br>
Free, and open to the public, sponsored by the First Unitarian Church
and funded in part by grants from the Regional Arts and Culture Council
and the Oregon Arts Commission.<br>
<br>
<font color="#330033"><br>
</font><font color="#330033" face="">~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~<br>
<br>
Soapstone, A Writing Retreat for Women<br>
</font></font></font><font color="#330033" face="" size="3">622 SE 29th
Avenue<br>
Portland, OR 97214<br>
503/233-3936<br>
<a class="moz-txt-link-freetext" href="http://www.soapstone.org">http://www.soapstone.org</a><br>
</font><font color="#330033" face="" size="3"><a
 class="moz-txt-link-abbreviated" href="mailto:retreats@soapstone.org">retreats@soapstone.org</a></font>
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from Tim Shaner:


A-New Poetry: Experimental Writing Series

  9/10   Robert Grenier
10/11   Jules Boykoff & Kaia Sand
11/15   David Abel, Maryrose Larkin, & Eric Matchett

(details below)

DIVA (Downtown Initiative for the Arts)
110 W. Broadway
Eugene, OR
541-344-3482
http://divanow.org

$5 suggested donation


 

Robert Grenier
reading and slide presentation

Wednesday, September 10, 7:30 PM


A graduate of Harvard College and the University of Iowa Program in 
Creative Writing, Robert Grenier has taught literature and creative 
writing at UC Berkeley, Tufts, Franconia College, New College of 
California, and Mills College. His works include /Sentences/, /Series, 
Oakland, A Day At The Beach, Phantom Anthems /and/ OWL/ON/ BOU/GH/. 
Grenier is currently co-editing a Collected Poems of Larry Eigner for 
the Stanford University Press. He was founding co-editor (with Barrett 
Watten) of the influential little magazine /This/ (1971-1974) and was 
the editor of Robert Creeley's /Selected Poems/, published in 1976. 
Grenier's early work, influenced by Creeley, is noted for its 
minimalism; Grenier's recent work is as much visual as verbal, involving 
multicolor "drawn" poems in special (and not always reproducible) formats.

 

 

Jules Boykoff and Kaia Sand

Saturday, October 11, 7:30 PM


Jules Boykoff is coauthor, with Kaia Sand, of /Landscapes of Dissent: 
Guerrilla Poetry & Public Space/ (Palm Press, 2008) and the author of 
/Beyond Bullets: The Suppression of Dissent in the United States/ (AK 
Press, 2007) and the poetry collection /Once Upon a Neoliberal Rocket 
Badge/ (Edge Books, 2006). A collaboration with visual artist Jim Dine 
is forthcoming (Steidl, 2008). In November 2006 he was an invited 
speaker at the United Nations Climate Change Conference in Nairobi, 
Kenya, where he presented research he carried out with his brother 
Maxwell Boykoff (Oxford University) on U.S. media coverage of global 
warming. Boykoff teaches political science and writing at Pacific 
University and  cocurates the Tangent Reading Series in Portland with 
Rodney Koeneke and Kaia Sand.

 

Kaia Sand is the author of the poetry collection /interval/ (Edge Books 
2004), selected as a Small Press Traffic Book of the Year. She created a 
dusie kollektiv (www.dusie.org) chapbook for her poem /tiny arctic ice/, 
which was reconfigured as a broadside by Bowerbox Press and as an 
artist's book by Jim Dine. She is creating multimedia investigations of 
political histories lodged in the Pacific Northwest of the United 
States, as well as a series of poems collaged from dystopic documents. 
Sand co-edits the Tangent Press (www.thetangentpress.org).

 



David Abel, Maryrose Larkin, and Eric Matchett

Saturday, November 15, 7:30 PM


David Abel is a poet, performer, and interdisciplinary artist who works 
as a freelance editor and bookseller. His recent publications include 
/Twenty-/ (Crane's Bill), /Let Us Repair/ (wax paper scissors, with Anna 
Daedalus) and /Black Valentine /(Chax Press). He collaborates often with 
artists in various media; most recently with Eric Matchett on /The 
Continuation of Dreaming by Other Means/ for the Sixth Annual Richard 
Foreman Mini-Festival at Performance Works Northwest in Portland. He is 
a founding organizer of the Spare Room reading series.

 

Maryrose Larkin lives in Portland, where she works as a freelance 
researcher. She is the author of /Inverse/ (nine muses books), /Whimsy 
Daybook 2007/ (FLASH+CARD), and /The Book of Ocean/ (i.e. press). Her 
work can be found in /FO A RM, Insurance, Bird Dog, /the/ Columbia 
Poetry Review, /and the/ Washington Review/. Maryrose is part of Spare 
Room, a group of people who organize readings and other events in 
Portland. She is coeditor, with Sarah Mangold, of FLASH+CARD, a chapbook 
and ephemera poetry press.

 

Eric Matchett enjoys the pursuit of music, especially via collaboration. 
His latest completed project, a CD of dub furniture music with Jake 
Anderson, can be found at 
www.archive.org/details/ActivityUniversalAssociates.

 

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<div class="moz-text-html" lang="x-western">from Tim Shaner:<br>
<br>
<br>
A-New Poetry: Experimental Writing Series<br>
<br>
&nbsp; 9/10 &nbsp; Robert Grenier<br>
10/11 &nbsp; Jules Boykoff &amp; Kaia Sand<br>
11/15&nbsp;&nbsp; David Abel, Maryrose Larkin, &amp; Eric Matchett<br>
<br>
(details below)<br>
<br>
DIVA (Downtown Initiative for the Arts)<br>
110 W. Broadway<br>
Eugene, OR<br>
541-344-3482<br>
<a class="moz-txt-link-freetext" href="http://divanow.org">http://divanow.org</a><br>
<br>
$5 suggested donation<br>
<br>
<br>
<div>&nbsp;</div>
<div>
<p class="MsoNormal" style="margin: 0in 0in 0pt;">Robert Grenier<br>
reading and slide presentation<br>
<br>
</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;">Wednesday, September
10, 7:30 PM<br>
</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><br>
A graduate of <st1:placename w:st="on">Harvard</st1:placename> <st1:placetype
 w:st="on">College</st1:placetype> and the <st1:placetype w:st="on">University</st1:placetype>
of <st1:placename w:st="on">Iowa Program</st1:placename> in Creative
Writing, Robert Grenier has taught literature and creative writing at
UC Berkeley, Tufts, <st1:placename w:st="on">Franconia</st1:placename>
<st1:placetype w:st="on">College</st1:placetype>, New College of
California, and <st1:place w:st="on"><st1:placename w:st="on">Mills</st1:placename>
<st1:placetype w:st="on">College</st1:placetype></st1:place>. His works
include <i>Sentences</i>, <i>Series, <st1:place w:st="on"><st1:city
 w:st="on">Oakland</st1:city></st1:place>,
A Day At The Beach, Phantom Anthems </i>and<i> OWL/ON/ BOU/GH</i>.
Grenier is currently co-editing a Collected Poems of Larry Eigner for
the Stanford University Press. He was founding co-editor (with Barrett
Watten) of the influential little magazine <i>This</i> (1971-1974) and
was the
editor of Robert Creeley's <i>Selected Poems</i>, published in 1976.
Grenier's
early work, influenced by Creeley, is noted for its minimalism;
Grenier's recent work is as much visual as verbal, involving multicolor
"drawn" poems in special (and not always reproducible) formats.</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><o:p>&nbsp;<br>
<br>
</o:p></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><o:p>&nbsp;</o:p></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;">Jules Boykoff and
Kaia Sand<br>
<br>
</p>
<o:p>
</o:p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;">Saturday, October 11,
7:30 PM<span style=""></span><br>
</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><br>
Jules Boykoff is
coauthor, with Kaia Sand, of <i>Landscapes of Dissent: Guerrilla
Poetry
&amp; Public Space</i> (Palm Press, 2008) and the author of <i>Beyond
Bullets:
The Suppression of Dissent in the <st1:place w:st="on"><st1:country-region
 w:st="on">United States</st1:country-region></st1:place></i>
(AK Press, 2007) and the
poetry collection <i>Once Upon a Neoliberal Rocket Badge</i> (Edge
Books,
2006). A
collaboration with visual artist Jim Dine is forthcoming (Steidl,
2008). In November 2006 he was an invited speaker at the United Nations
Climate Change
Conference in Nairobi, Kenya, where he presented research he carried
out with his brother Maxwell Boykoff (Oxford University) on U.S. media
coverage of global warming. Boykoff
teaches political science and writing at <st1:placename w:st="on">Pacific</st1:placename>
<st1:placetype w:st="on">University</st1:placetype> and&nbsp; cocurates the
Tangent Reading Series in Portland with Rodney Koeneke and
Kaia Sand.</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><o:p>&nbsp;</o:p></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;">Kaia Sand is the
author of the poetry collection <i>interval</i> (Edge Books 2004),
selected as
a Small Press Traffic Book of the Year. She created a dusie kollektiv
(<a class="moz-txt-link-abbreviated" href="http://www.dusie.org">www.dusie.org</a>)
chapbook for her poem <i>tiny arctic ice</i>, which was
reconfigured as a broadside by Bowerbox Press and as an artist's book
by
Jim Dine. She is creating multimedia investigations of political
histories lodged in the Pacific Northwest of the <st1:country-region
 w:st="on"><st1:place w:st="on">United States</st1:place></st1:country-region>,
as well as a series of poems collaged from dystopic documents. Sand
co-edits
the Tangent Press (<a class="moz-txt-link-abbreviated"
 href="http://www.thetangentpress.org">www.thetangentpress.org</a>).</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><o:p>&nbsp;</o:p></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><o:p></o:p> <br>
<br>
</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><o:p>David Abel,
Maryrose Larkin, and Eric Matchett<br>
<br>
</o:p></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;">Saturday, November
15, 7:30 PM<br>
</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><br>
David Abel is a poet,
performer, and interdisciplinary artist who works as a freelance editor
and bookseller. His recent publications include <i>Twenty-</i>
(Crane's Bill), <i>Let Us Repair</i> (wax paper
scissors, with Anna Daedalus) and <i>Black Valentine </i>(Chax
Press). He collaborates often with artists in various media; most
recently with Eric Matchett on <i>The Continuation of Dreaming by
Other Means</i> for the Sixth Annual Richard Foreman Mini-Festival at
Performance Works Northwest in Portland. He is a founding organizer of
the Spare
Room reading series.</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><o:p>&nbsp;</o:p></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;">Maryrose Larkin lives
in <st1:place w:st="on"><st1:city w:st="on">Portland</st1:city>,</st1:place>
where she works as a freelance researcher. She is the author of <i>Inverse</i>
(nine muses books), <i>Whimsy Daybook 2007</i> (FLASH+CARD), and <i>The
Book of
Ocean</i> (i.e. press). Her work can be found in <i>FO A RM,
Insurance, Bird
Dog, </i>the<i> Columbia Poetry Review, </i>and the<i> Washington
Review</i>. Maryrose is
part of Spare Room, a group of people who organize readings and other
events in <st1:city w:st="on"><st1:place w:st="on">Portland</st1:place></st1:city>.
She is coeditor, with Sarah Mangold, of FLASH+CARD, a chapbook and
ephemera poetry press.</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;"><o:p>&nbsp;</o:p></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt;">Eric Matchett enjoys
the pursuit of music, especially via collaboration. His latest
completed project, a CD of dub furniture music with Jake Anderson, can
be found at <a class="moz-txt-link-abbreviated"
 href="http://www.archive.org/details/ActivityUniversalAssociates">www.archive.org/details/ActivityUniversalAssociates</a>.</p>
</div>
<div>&nbsp;</div>
</div>
</body>
</html>

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Spare Room presents

*Maggie Nelson* (L.A.)
*Cynthia Nelson* (Portland)

Sunday, September 14, 7:30 pm

Concordia Coffee House     www.concordiacoffeehouse.com
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming events:

Sunday, September 28, 12:00 pm
*Remember to Wave: A Poetry Walk in North Portland*, with Kaia Sand
(details to follow)

October 11: Chris Vitiello / Jeanne Heuving
November 9: Doug Nufer / Zachary Schomburg
December 18: Judith Roitman / Stanley Lombardo
January 11: Endi Hartigan / Maryrose Larkin
February 1: Laynie Browne / tba

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Spare Room presents<br>
<br>
<b>Maggie Nelson</b> (L.A.)<br>
<b>Cynthia Nelson</b> (Portland)<br>
<br>
Sunday, September 14, 7:30 pm<br>
<br>
Concordia Coffee House&nbsp;&nbsp;&nbsp;&nbsp; <a class="moz-txt-link-abbreviated"
 href="http://www.concordiacoffeehouse.com">www.concordiacoffeehouse.com</a><br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming events:<br>
<br>
Sunday, September 28, 12:00 pm<br>
<b>Remember to Wave: A Poetry Walk in North Portland</b>, with Kaia Sand<br>
(details to follow)<br>
<br>
October 11: Chris Vitiello / Jeanne Heuving<br>
November 9: Doug Nufer / Zachary Schomburg<br>
December 18: Judith Roitman / Stanley Lombardo<br>
January 11: Endi Hartigan / Maryrose Larkin<br>
February 1: Laynie Browne / tba<br>
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Two readings to choose from on Wednesday, September 17:


from Tom Mattox:

Dale Favier
Dan Raphael
Maryrose Larkin

7:00 pm

Barnes & Noble
1317 Lloyd Center



from Charles Seluzicki:

Carl Adamshick
Matthew Dickman
 
7:30 PM

The Press Club
2621 SE Clinton

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from Mark Owens:
*
DEMAGNETIC CABARET*
experimental performances
one night only
 
Linda Austin
Bethany Ides
Tony Christy
Leo Daedalus
David Abel
Mark Owens

Saturday, September 27th
8:OO pm

gallery HOMELAND
2505 SE 11th Ave. (at Division)

Beware! A new series of mutant cabarets is afoot. It aims to not aim! 
Our disposable non-acts will not take over. No!

Come to an evening of humor-based, conceptual, nondramatic events 
informed from traditions such as Dada, Fluxus, and Situationism.

*Compost Sterilization*

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<div><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif">from Mark Owens:<br>
</font><b><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif"><br>
DEMAGNETIC CABARET</font></b><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif"><br>
experimental performances<br>
one night only<br>
&nbsp;<br>
</font><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif">
Linda Austin<br>
Bethany Ides<br>
Tony Christy<br>
Leo Daedalus<br>
</font><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif">David Abel<br>
</font><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif">Mark Owens<br>
<br>
</font><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif">Saturday, September 27th</font><font
 class="Apple-style-span" face="verdana, helvetica, sans-serif"><br>
</font><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif">8:OO pm<br>
<br>
gallery HOMELAND<br>
2505 SE 11th Ave. (at Division)<br>
</font><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif"><br>
</font></div>
<div><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif">Beware! A new series of mutant
cabarets is afoot. It aims to not aim! Our disposable non-acts will not
take over. No!</font></div>
<div><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif"><br>
Come to an evening of humor-based, conceptual, nondramatic events
informed from traditions such as Dada,&nbsp;</font><font
 class="Apple-style-span" face="verdana, helvetica, sans-serif">Fluxus</font><font
 class="Apple-style-span" face="verdana, helvetica, sans-serif">, and
Situationism.</font><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif"><br>
</font><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif"><br>
</font><b><font class="Apple-style-span"
 face="verdana, helvetica, sans-serif"><span class="Apple-style-span"
 style="font-size: medium;">Compost Sterilization</span></font></b></div>
</div>
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Spare Room presents

/*Remember to Wave: */
/*A Poetry Walk in North Portland*/

*with Kaia Sand

* Sunday, September 28
12:00 pm

Free

Meet at the Expo MAX stop (yellow line), at the Torii gate at the north 
end of the platform.

======================================================

/We walk for many reasons, and one of those reasons can be poetry. /

Rather than gather in a salon or saloon, we'll step outdoors. This is a 
poetry reading by Kaia Sand that will "take place" as a two-hour walk, 
in the spirit of the Situationist dérive. We'll walk near the Columbia 
Slough where Japanese Americans were "relocated," and where the Vanport 
flood destroyed the World War II-era city.

We'll embark at noon from the Expo MAX Station, take an approximately 
two mile walk, and end at the Delta Park/Vanport station. Along the way, 
we'll stop for an improvisational ode and a snack of seasonal fruit.

This will be an uncovered, outdoor event, so be sure to wear walking 
shoes and---if it's raining---bring an umbrella!

Please email Kaia (sand@thetangentpress.org) by September 24 with a 
postal address if you would like to receive a map of the poetry walk 
route in the mail. A map will also be posted online as a pdf 
(http://www.thetangentpress.org/map.html).


This project is funded by the Regional Arts and Culture Council


*****

*Kaia Sand* authored the poetry collection /interval/ (Edge Books 2004), 
selected as a Small Press Traffic Book of the Year, and with Jules 
Boykoff she coauthored the just-released /Landscapes of Dissent: 
Guerrilla Poetry & Public Space/ (Palm Press 2008). She created a dusie 
kollektiv (www.dusie.org) chapbook for her poem /tiny arctic ice/, which 
was reconfigured as a broadside by Bowerbox Press and as an artist's 
book by Jim Dine (Steidl Editions 2008). She recently performed poetry 
collaged entirely from the North American Free Trade Agreement at the 
Positions Colloquium of the Kootenay School of Writing in Vancouver, 
British Columbia. Her investigations of Pacific Northwest geographies 
will be published as a chapbook through Tinfish Press (Hawaii 2009), and 
an essay from this project will be published in the forthcoming /Citadel 
of the Spirit/ (Nestucca Spit Press).


*tiny arctic ice*

Inhale, exhale
6.6 billion people breathing
Some of us in captivity
Our crops far-flung
Prison is a place where children sometimes visit
Jetted from Japan, edamame is eaten in England
Airplane air is hard to share
I breathe in what you breathe out, stranger
We send tea leaves to distant friends
Araucana chickens won't lay eggs in captivity
Airplanes of roses lift above Quito mountains
When the fish diminish, folks find jobs in prisons
Sometimes children visit
Terminator seeds are hard to share
And the fish diminish
The roses, the tea, and the edamame, far-flung
The roses, the tea and you
You breathe in what I breathe out, friend


--------------010103030501050302000007
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit

<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
Spare Room presents<br>
<br>
<i><b>Remember to Wave: </b></i><br>
<i><b>A Poetry Walk in North Portland</b></i><br>
<br>
<b>with Kaia Sand<br>
<br>
</b>
Sunday, September 28<br>
12:00 pm<br>
<br>
Free<br>
<br>
Meet at the Expo MAX stop (yellow line), at the Torii gate at the north
end
of the platform.<br>
<br>
======================================================<br>
<br>
<i>We walk for many reasons, and one of those reasons can be poetry.
</i><br>
<br>
Rather than gather in a salon or saloon, we&#8217;ll step outdoors. This is a
poetry reading by Kaia Sand that will &#8220;take place&#8221; as a two-hour walk,
in the spirit of the Situationist d&eacute;rive. We'll walk near the Columbia
Slough where Japanese Americans were "relocated," and where the Vanport
flood destroyed the World War II-era city.<br>
<br>
We&#8217;ll embark at noon from the Expo MAX Station, take an approximately
two mile walk, and end at the Delta Park/Vanport station. Along the
way, we&#8217;ll stop for an improvisational ode and a snack of seasonal
fruit.<br>
<br>
This will be an uncovered, outdoor event, so be sure to wear walking
shoes and&#8212;if it&#8217;s raining&#8212;bring an umbrella!<br>
<br>
Please email Kaia (<a class="moz-txt-link-abbreviated" href="mailto:sand@thetangentpress.org">sand@thetangentpress.org</a>) by September 24 with a
postal address if you would
like to receive a map of the poetry walk route in the mail. A map will
also be posted online as a pdf
(<a class="moz-txt-link-freetext"
 href="http://www.thetangentpress.org/map.html">http://www.thetangentpress.org/map.html</a>).<br>
<br>
<br>
This project is funded by the Regional Arts and Culture Council<br>
<br>
<br>
*****<br>
<br>
<b>Kaia Sand</b> authored the poetry collection <i>interval</i> (Edge
Books 2004), selected as a Small Press Traffic Book of the Year, and
with Jules Boykoff she coauthored the just-released <i>Landscapes of
Dissent: Guerrilla Poetry &amp; Public Space</i> (Palm Press 2008). She
created a dusie kollektiv (<a class="moz-txt-link-abbreviated"
 href="http://www.dusie.org">www.dusie.org</a>) chapbook for her poem <i>tiny
arctic ice</i>,
which was reconfigured as a broadside by Bowerbox Press and as an
artist's book by Jim Dine (Steidl Editions 2008). She recently
performed poetry collaged entirely from the North American Free Trade
Agreement at the Positions Colloquium of the Kootenay School of Writing
in Vancouver, British Columbia. Her investigations of Pacific Northwest
geographies will be published as a chapbook through Tinfish Press
(Hawaii 2009), and an essay from this project will be published in the
forthcoming <i>Citadel of the Spirit</i> (Nestucca Spit Press).<br>
<br>
<br>
<b>tiny arctic ice</b><br>
<br>
Inhale, exhale<br>
6.6 billion people breathing<br>
Some of us in captivity<br>
Our crops far-flung<br>
Prison is a place where children sometimes visit<br>
Jetted from Japan, edamame is eaten in England<br>
Airplane air is hard to share<br>
I breathe in what you breathe out, stranger<br>
We send tea leaves to distant friends<br>
Araucana chickens won&#8217;t lay eggs in captivity<br>
Airplanes of roses lift above Quito mountains<br>
When the fish diminish, folks find jobs in prisons<br>
Sometimes children visit<br>
Terminator seeds are hard to share<br>
And the fish diminish<br>
The roses, the tea, and the edamame, far-flung<br>
The roses, the tea and you<br>
You breathe in what I breathe out, friend<br>
<br>
</body>
</html>

--------------010103030501050302000007--

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*
(please note that this is a Saturday night reading, not Sunday as is our 
usual custom)*


Spare Room presents

*Chris Vitiello
Jeanne Heuving*

/Saturday,/ October 11
7:30 pm

Concordia Coffee House
2909 NE Alberta
www.concordiacoffeehouse.com

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com


=============================================

Upcoming readings:

November 9: Doug Nufer / Zachary Schomburg
December 18: Judith Roitman / Stanley Lombardo
January 11: Endi Hartigan / Maryrose Larkin
February 1: Laynie Browne / tba

=============================================

Chris Vitiello lives in Durham, NC. His book /Irresponsibility /is out 
from Ahsahta Press. He's concerned with, among other things: 
clarification, light, stars, the sky, clouds, wind, trees, birds, 
deduction, eyes, leaves, people and their observable behaviors, grasses, 
the soil, flowers and their growth, description and representation, 
vegetables, skins and peels, seeds, nuts, cross-sections, dictionary 
definitions, synonyms and antonyms but especially synonyms, utility, 
analysis, skepticism, kindness, goodness, quantity, measurement, direct 
commands, questions, and fact statements.

Jeanne Heuving's cross genre /Incapacity/ (Chiasmus Press) won a 2004 
Book of the Year Award from Small Press Traffic, and her book of poems 
/Transducer/ (Chax Press) is just out.  She has published multiple 
critical pieces on avant garde and innovative writers, including the 
book /Omissions Are Not Accidents: Gender in the Art of Marianne Moore./ 
She is a member of the Subtext Collective, on the editorial advisory 
board of HOW2, and is a professor in the Interdisciplinary Arts and 
Sciences program at the University of Washington, Bothell and in the 
graduate program in English at UW, Seattle. In 2003, she was the H.D. 
Fellow at the Beinecke Library at Yale University.

=============================================

(from /Obedience)/

It's /that/ a tree branches as well as /how/ a tree branches

Work within a number

You have no choice but to work within numbers

"Obvious" is an empty word

This is an example of how you could be without

   -- Chris Vitiello



FLORESCENCE

Through hallways of rising water
Dark sedge to stay here in this
Netherworld refusing to see above
A water line as it creases the eye
Swimming forward to this line
Of entry no entry you hold me
Rising descent into nearness 
To see through other eyes 
To see through mine
The plunging water picks me up
This lunging of a place
Moving forward into 
Underwater under kind
Traveling dark stream of streaked
Beatitude choosing to eat the seeds
Of death to take in each grain
Winnowing for grain for seed
Heated by sun flooding hallway
By river watching through mirror
Filtered, carrying sludge, sedge
Underwater coursing vision 
Line of water as it cuts

  -- Jeanne Heuving

--------------050504090401090909040101
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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
<b><br>
(please note that this is a Saturday night reading, not Sunday as is
our usual custom)</b><br>
<br>
<br>
Spare Room presents<br>
<br>
<b>Chris Vitiello<br>
Jeanne Heuving</b><br>
<br>
<i>Saturday,</i> October 11<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<a class="moz-txt-link-abbreviated"
 href="http://www.concordiacoffeehouse.com">www.concordiacoffeehouse.com</a><br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
<br>
=============================================<br>
<br>
Upcoming readings:<br>
<br>
November 9: Doug Nufer / Zachary Schomburg<br>
December 18: Judith Roitman / Stanley Lombardo<br>
January 11: Endi Hartigan / Maryrose Larkin<br>
February 1: Laynie Browne / tba<br>
<br>
=============================================<br>
<br>
Chris Vitiello lives in Durham, NC. His book <i>Irresponsibility </i>is
out from Ahsahta Press. He's concerned with, among other things:
clarification, light, stars,
the sky, clouds, wind, trees, birds, deduction, eyes, leaves, people
and their observable behaviors, grasses, the soil, flowers and their
growth, description and representation, vegetables, skins and peels,
seeds, nuts, cross-sections, dictionary definitions, synonyms and
antonyms but especially synonyms, utility, analysis, skepticism,
kindness, goodness, quantity, measurement, direct commands, questions,
and fact statements.<br>
<br>
Jeanne Heuving's cross genre <i>Incapacity</i> (Chiasmus Press) won a
2004 Book of the Year Award from Small Press Traffic, and her book of
poems <i>Transducer</i> (Chax Press) is just out.&nbsp; She has published
multiple critical pieces on avant garde and innovative writers,
including the book <i>Omissions Are Not Accidents: Gender in the Art
of Marianne Moore.</i> She is a member of the Subtext Collective, on
the editorial advisory board of HOW2, and is a professor in the
Interdisciplinary Arts and Sciences program at the University of
Washington, Bothell and in the graduate program in English at UW,
Seattle. In 2003, she was the H.D. Fellow at the Beinecke Library at
Yale University. <br>
<br>
=============================================<br>
<br>
(from <i>Obedience)</i><br>
<br>
It&#8217;s <i>that</i> a tree branches as well as <i>how</i> a tree branches<br>
<br>
Work within a number<br>
<br>
You have no choice but to work within numbers<br>
<br>
&#8220;Obvious&#8221; is an empty word<br>
<br>
This is an example of how you could be without<br>
<br>
&nbsp;&nbsp; -- Chris Vitiello<br>
<br>
<br>
<br>
FLORESCENCE<br>
<br>
Through hallways of rising water<br>
Dark sedge to stay here in this<br>
Netherworld refusing to see above<br>
A water line as it creases the eye<br>
Swimming forward to this line<br>
Of entry no entry you hold me <br>
Rising descent into nearness&nbsp; <br>
To see through other eyes&nbsp; <br>
To see through mine<br>
The plunging water picks me up<br>
This lunging of a place <br>
Moving forward into&nbsp; <br>
Underwater under kind<br>
Traveling dark stream of streaked<br>
Beatitude choosing to eat the seeds<br>
Of death to take in each grain<br>
Winnowing for grain for seed <br>
Heated by sun flooding hallway <br>
By river watching through mirror<br>
Filtered, carrying sludge, sedge<br>
Underwater coursing vision&nbsp; <br>
Line of water as it cuts<br>
<br>
&nbsp; -- Jeanne Heuving<br>
</body>
</html>

--------------050504090401090909040101--

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from Dan Raphael:


Poets Invade the Blue Monk

John Bennett
Willie Smith
Curtis Whitecarroll
Leuth Bartells

plus the Be Blank Chorus
(including Scott Helmes, Casey Bush, & Dan Raphael)

Sunday, October 12
7:00 pm

Blue Monk
3341 SE Belmont
www.thebluemonk.com


Columbus Ohio's John M Bennett and Seattle's Willie Smith, aided by 
locals Curtis Whitecarroll and Leuth Bartells, will provide a 
wide-ranging and energetic evening of poetry, prose and sound poetry.

John M Bennett has been active in a variety of poetic roles for three 
decades -- as writer and creator (including visual and sound poems, and 
200 published books), as publisher of Lost and Found Times and Luna 
Bisonte Prods, as a collaborator (including books with Ivan Arguelles 
and Jim Leftwich), and a performer. John works in the rare book 
collection of
the Ohio Statue University library. (More information at johnmbennett.net.)

Willie Smith is an iconoclastic writer and poet who delivers his work 
with nerve-rending humor and intensity. He has published one novel 
(Oedipus Cadet), five collections of short prose and three collections 
of poetry. When he works he denies medical benefits to welfare clients 
in Seattle.

Curtis Whitecarroll just moved to Seattle but still shows up regularly 
in Portland. A denizen of open mikes, he will soon be having a book 
published by Black Sparrow, who he is advising on an anthology of 
Northwest poetry

Leuth Bartells is a poet, singer, actress, dancer and massage therapist.

The evening will also feature noted visual poet and architect Scott 
Helmes, flying in from St Paul to join the Be Blank Consort, a sound 
poetry chorus performing work by Bennett, Sheila Murphy and others. The 
Consort will receive back-up from Bartells, poet Casey Bush, and the 
evening's MC, dan raphael.

For more information contact dan raphael, raphael@aracnet.com, 503-777-0406



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<div class="moz-text-plain" wrap="true" graphical-quote="true"
 style="font-size: 16px;" lang="x-western">from Dan Raphael:<br>
<br>
<br>
Poets Invade the Blue Monk<br>
<br>
John Bennett<br>
Willie Smith<br>
Curtis Whitecarroll<br>
Leuth Bartells<br>
<br>
plus the Be Blank Chorus<br>
(including Scott Helmes, Casey Bush, &amp; Dan Raphael)<br>
<br>
Sunday, October 12<br>
7:00 pm<br>
<br>
Blue Monk<br>
3341 SE Belmont<br>
<a class="moz-txt-link-abbreviated" href="http://www.thebluemonk.com">www.thebluemonk.com</a><br>
<br>
<br>
Columbus Ohio&#8217;s John M Bennett and Seattle&#8217;s Willie Smith, aided by
locals Curtis Whitecarroll and Leuth Bartells, will provide a
wide-ranging and energetic evening of poetry, prose and sound poetry.<br>
<br>
John M Bennett has been active in a variety of poetic roles for three
decades -- as writer and creator (including visual and sound poems, and
200 published books), as publisher of Lost and Found Times and Luna
Bisonte
Prods, as a collaborator (including books with Ivan Arguelles and Jim
Leftwich), and a performer. John works in the rare book collection of <br>
the Ohio Statue University library. (More information at
johnmbennett.net.)<br>
<br>
Willie Smith is an iconoclastic writer and poet who delivers his work
with nerve-rending humor and intensity. He has published one novel
(Oedipus Cadet), five collections of short prose and three collections
of poetry. When he works he denies medical benefits to welfare clients
in Seattle.<br>
<br>
Curtis Whitecarroll just moved to Seattle but still shows up regularly
in Portland. A denizen of open mikes, he will soon be having a book
published by Black Sparrow, who he is advising on an anthology of
Northwest poetry<br>
<br>
Leuth Bartells is a poet, singer, actress, dancer and massage therapist.<br>
<br>
The evening will also feature noted visual poet and architect Scott
Helmes, flying in from St Paul to join the Be Blank Consort, a sound
poetry chorus performing work by Bennett, Sheila Murphy and others. The
Consort will receive back-up from Bartells, poet Casey Bush, and the
evening&#8217;s MC, dan raphael.<br>
<br>
For more information contact dan raphael, <a
 class="moz-txt-link-abbreviated" href="mailto:raphael@aracnet.com">raphael@aracnet.com</a>,
503-777-0406<br>
<br>
<br>
</div>
</body>
</html>

--------------050901000001010908050604--

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Subject: [Spare Room Press Release] Sunday 11/9,
	Doug Nufer & Zachary Schomburg
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Spare Room presents

*Doug Nufer
Zachary Schomburg
*
Sunday/,/ November 9
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming readings:

December 18: Judith Roitman / Stanley Lombardo
January 11: Endi Hartigan / Maryrose Larkin
February 1: Laynie Browne / Jared Hayes
February 8: Andrew Joron / Andrew Zawacki

=============================================

*Doug Nufer *writes prose and poetry based on formal constraints. His 
novels include /Never Again/ (Black Square), /Negativeland/ 
(Autonomedia), /On the Roast/ (Chiasmus), and /The Mudflat Man / The 
River Boys/ (soultheft). His most recent book is the poetry collection 
/We Were Werewolves/ (Make Now).

*Zachary Schomburg* is the author of /The Man Suit /(Black Ocean 2007) 
and /The Pond/ (Graying Ghost Press 2008). His translations from the 
Russian of Andrei Sen-Senkov appear in the journals /Mantis/ and 
/Circumference/, and of Irina Shostakovskaya in the forthcoming /Jacket 
Anthology of Russian Poetry/. He coedits /Octopus Magazine/ and Octopus 
Books, and teaches film at Portland State University.

===================================================

*Super Patrol*

Faster than a speeding bullet
When the laws
More powerful than a locomotive
Of any state
Able to leap tall buildings
Are broken
At a single bound

A duly authorized
Change
Organization swings
The course of mighty rivers
Into action,
Bends steel
Be it the State Police
In his bare hands
State Militia.
Look up in the sky
Five-0 Racket Squad
It's a
Miami Vice CSI Special Victims
Bird, It's a
Unit, or
It's a plane, it's
The Highway
Super Patrol
Man.

*Doug Nufer*

===================================================

from /Poems: 1977-2050/

When I came home
the locks had been changed.
Someone had changed the locks
so I broke in through the window
and found someone had replaced the furniture
with other furniture.
Everything was out of place.
Everything looked like buildings
going up in a new city.
Everything looked like icebergs
melting into the dark ocean.
When I went into the bedroom
someone was sleeping in the bed.
It wasn't my bed.
It wasn't me who was sleeping in it.
I watched her sleep all night.
She was beautiful
like the baby of god.
I listened to the two of us breathing.
It was good to be silent
for that long.

*Zachary Schomburg*


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Spare Room presents<br>
<br>
<b>Doug Nufer<br>
Zachary Schomburg<br>
</b><br>
Sunday<i>,</i> November 9<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<a class="moz-txt-link-abbreviated"
 href="http://www.concordiacoffeehouse.com"></a><br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming readings:<br>
<br>
December 18: Judith Roitman / Stanley Lombardo<br>
January 11: Endi Hartigan / Maryrose Larkin<br>
February 1: Laynie Browne / Jared Hayes<br>
February 8: Andrew Joron / Andrew Zawacki<br>
<br>
=============================================<br>
<div class="moz-text-plain" wrap="true" graphical-quote="true"
 style="font-size: 16px;" lang="x-western"><br>
<b>Doug Nufer </b>writes prose and poetry based on formal constraints.
His
novels include <i>Never Again</i> (Black Square), <i>Negativeland</i>
(Autonomedia),
<i>On the Roast</i> (Chiasmus), and <i>The Mudflat Man / The River Boys</i>
(soultheft). His most recent book is the poetry collection <i>We Were
Werewolves</i> (Make Now).<br>
<br>
<b>Zachary Schomburg</b> is the
author of <i>The Man Suit </i>(Black Ocean 2007) and <i>The Pond</i>
(Graying Ghost
Press 2008).
His translations from the Russian of Andrei Sen-Senkov appear
in the journals <i>Mantis</i> and <i>Circumference</i>, and of Irina
Shostakovskaya in the forthcoming <i>Jacket
Anthology of Russian Poetry</i>. He coedits <i>Octopus Magazine</i>
and Octopus Books, and teaches film at Portland State University.<br>
<br>
===================================================<br>
<br>
<b>Super Patrol</b><br>
<br>
Faster than a speeding bullet<br>
When the laws<br>
More powerful than a locomotive<br>
Of any state<br>
Able to leap tall buildings<br>
Are broken<br>
At a single bound<br>
<br>
A duly authorized<br>
Change<br>
Organization swings<br>
The course of mighty rivers<br>
Into action,<br>
Bends steel<br>
Be it the State Police<br>
In his bare hands<br>
State Militia.<br>
Look up in the sky<br>
Five-0 Racket Squad<br>
It&#8217;s a<br>
Miami Vice CSI Special Victims<br>
Bird, It&#8217;s a<br>
Unit, or<br>
It&#8217;s a plane, it&#8217;s<br>
The Highway <br>
Super Patrol<br>
Man.<br>
<br>
<b>Doug Nufer</b><br>
<br>
===================================================<br>
<br>
from <i>Poems: 1977-2050</i><br>
<br>
When I came home<br>
the locks had been changed.<br>
Someone had changed the locks<br>
so I broke in through the window<br>
and found someone had replaced the furniture<br>
with other furniture.<br>
Everything was out of place.<br>
Everything looked like buildings<br>
going up in a new city.<br>
Everything looked like icebergs<br>
melting into the dark ocean.<br>
When I went into the bedroom<br>
someone was sleeping in the bed.<br>
It wasn't my bed.<br>
It wasn't me who was sleeping in it.<br>
I watched her sleep all night.<br>
She was beautiful<br>
like the baby of god.<br>
I listened to the two of us breathing.<br>
It was good to be silent<br>
for that long.<br>
<br>
<b>Zachary Schomburg</b><br>
<br>
</div>
</body>
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--------------000604030203020608050607--

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Spare Room presents

*Judith Roitman
Stanley Lombardo

*
*Thursday*, December 18
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming readings:

January 11: Endi Hartigan / Maryrose Larkin
January 25: 100 Poems from the Past 100 Years:
   Spare Room's 100th Reading
February 1: Laynie Browne / Jared Hayes
February 8: Andrew Joron / Andrew Zawacki

=============================================

*Judith Roitman* was born and raised in New York City. She lived for a 
while in the San Francisco and Boston areas and now lives in Lawrence, 
Kansas where she is a professor of mathematics. Her most recent book is 
/No Face (Selected & New Poems)/, published this summer by First 
Intensity; previous books include /The Stress of Meaning: Variations on 
a Line of Susan Howe/; /Diamond Notebooks/; and /Slippage/.

*Stanley Lombardo* has translated the fragments of Parmenides and 
Empedocles; the poems of Sappho; the /Iliad/ and the /Odyssey/; Hesiod's 
/Theogony/; the /Aeneid/; the /Inferno/; "and other poems he has loved 
from his early days." He is a professor of Classics at the University of 
Kansas.

=============================================


*ORIGIN*

Region is origin. Document
is living. Stone is concrete.
Basement is raised. Some
thing under the basket. Some
thing under water. He breathes
too easily. Her face doesn't
remember this.
*
Judith Roitman*



Black dream
you come when sleep comes,
sweet god, truly dreadful agony
*
Sappho (trans. Stanley Lombardo) *

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Spare Room presents<br>
<br>
<b>Judith Roitman<br>
Stanley Lombardo<br>
<br>
</b><br>
<b>Thursday</b>, December 18<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming readings:<br>
<br>
January 11: Endi Hartigan / Maryrose Larkin<br>
January 25: 100 Poems from the Past 100 Years:<br>
&nbsp;&nbsp; Spare Room's 100th Reading<br>
February 1: Laynie Browne / Jared Hayes<br>
February 8: Andrew Joron / Andrew Zawacki<br>
<br>
=============================================<br>
<div class="moz-text-plain" wrap="true" graphical-quote="true"
 style="font-size: 16px;" lang="x-western"><br>
<b>Judith Roitman</b> was born and raised in New York City. She lived
for a while in the San Francisco and Boston areas and now lives in
Lawrence, Kansas where she
is a professor of mathematics. Her most recent book is <i>No Face
(Selected &amp; New Poems)</i>, published this summer by First
Intensity; previous books include <i>The Stress of Meaning: Variations
on a Line of Susan Howe</i>; <i>Diamond Notebooks</i>; and <i>Slippage</i>.<br>
<br>
<b>Stanley Lombardo</b> has translated the fragments of Parmenides and
Empedocles; the poems of Sappho; the <i>Iliad</i> and the <i>Odyssey</i>;
Hesiod's <i>Theogony</i>; the <i>Aeneid</i>; the <i>Inferno</i>;
"and other poems he has loved from his early days." He is a professor
of Classics at the University of Kansas.<br>
<br>
=============================================<br>
<br>
<br>
<b>ORIGIN</b><br>
<br>
Region is origin. Document<br>
is living. Stone is concrete.<br>
Basement is raised. Some<br>
thing under the basket. Some<br>
thing under water. He breathes<br>
too easily. Her face doesn't<br>
remember this.<br>
<b><br>
Judith Roitman</b><br>
<br>
<br>
<br>
Black dream<br>
you come when sleep comes,<br>
sweet god, truly dreadful agony<br>
<b><br>
Sappho (trans. Stanley Lombardo) </b><br>
</div>
</div>
</body>
</html>

--------------090105010507080104090402--

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Subject: [Spare Room Press Release] FWD: Help Save In Other Words
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from In Other Words:


In Other Words, like so many of our fellow bookstores, has fallen upon 
incredibly hard financial times.  With the decline in our current 
economy, we have experienced severely decreased revenue.  *If we are 
unable to raise $11,000 by the end of December, In Other Words will have 
to close its doors.*

We desperately need your help.  *We are confident that if everyone who 
cares about In Other Words makes a contribution, large or small, we will 
meet our goal. * Please give as generously as you can to save the last 
remaining non-profit, feminist bookstore in the country: the place where 
so many Portland artists, activists, organizers, readers, writers, 
political thinkers, musicians and poets find their voice, their power, 
their community, and their political home. 

*Our community cannot afford to lose In Other Words, please help us save 
her!
*
You can make your tax-deductible donations on the In Other Words secure 
website 
<https://www.chi-cash-advance.com/sforms/appeal804/contribute.asp%20>, 
or by stopping into the store (8 NE Killingsworth).

*Please forward this widely to your community, we need all the help we 
can get!*

Sincerely,
The Board, Staff and Volunteers of In Other Words

-- 
Program Director, In Other Words
katie@inotherwords.org <mailto:katie@inotherwords.org>
503.232.6003

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<div class="moz-text-html" lang="x-western">from In Other Words:<br>
<br>
<br>
In Other Words, like so many of our fellow
bookstores, has fallen upon incredibly hard financial times.&nbsp; With the
decline in our current economy, we have experienced severely decreased
revenue.&nbsp; <b>If we are unable to raise $11,000 by the end of December,
In Other Words will have to close its doors.</b><br>
<br>
We desperately need your help.&nbsp; <b>We are confident that if everyone
who cares about In Other Words makes a contribution, large or small, we
will meet our goal.&nbsp;</b>
Please give as generously as you can to save the last remaining
non-profit, feminist bookstore in the country: the place where so many
Portland artists, activists,
organizers, readers, writers, political thinkers, musicians and
poets find their voice,
their power, their community, and their political home.&nbsp; <br>
<br>
<b>Our community cannot afford to lose In Other Words, please help us
save her!<br>
</b><br>
You can make your tax-deductible donations on the <a
 href="https://www.chi-cash-advance.com/sforms/appeal804/contribute.asp%20"
 target="_blank">In Other Words secure website</a>, or by stopping into
the store (8 NE Killingsworth).<br>
<span></span><br>
<b>Please forward this widely to your community, we need all the help
we can get!</b><br>
<br>
Sincerely,<br>
The Board, Staff and Volunteers of In Other Words<br clear="all">
<br>
-- <br>
Program Director, In Other Words<br>
<a href="mailto:katie@inotherwords.org" target="_blank">katie@inotherwords.org</a><br>
503.232.6003<br>
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The link for donations was incorrect in the previous message about In 
Other Words. The correct link is:

https://www.chi-cash-advance.com/sforms/appeal804/contribute.asp

Apologies for any inconvenience.

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Spare Room presents

*Endi Bogue Hartigan
Maryrose Larkin
*

Sunday, January 11
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming readings:

January 25: 100 Poems by 100 Poets from the Past 100 Years:
   Spare Room's 100th Reading
February 1: Laynie Browne / Jared Hayes
February 8: Andrew Joron / Andrew Zawacki

=============================================

*Endi Bogue Hartigan* will be reading from her first book, /One Sun 
Storm/, and from a new manuscript. /One Sun Storm/ was selected for the 
2008 Colorado Prize for Poetry by Martha Ronk, and was released in 
November from the Center for Literary Publishing. Her work has recently 
appeared or is forthcoming in /Chicago Review, Free Verse, TinFish, Gulf 
Coast, Pleiades, /and/ Quarterly West/. Endi edited and cofounded, with 
her husband poet Patrick Hartigan, /Spectaculum/, a magazine that was 
devoted to long poems, series, and projects best presented at length. 
She lives in Portland, with Patrick and their son Jackson.

*Maryrose Larkin* lives in Portland, where she works as a freelance 
researcher. She is the author of /Inverse/ (nine muses books), /Whimsy 
Daybook 2007/ (FLASH+CARD), and /The Book of Ocean/ (i.e. press). Her 
work can also be found in /FO A RM, Insurance, Bird Dog, Columbia Poetry 
Review, /and/ Washington Review/. Maryrose is one of the organizers of 
Spare Room, and is coeditor, with Sarah Mangold, of FLASH+CARD, a 
chapbook and ephemera poetry press.

=============================================


*Chorus of blue [Crater Lake, 2007]*
 
The question of change
is a question of what we can afford to continue.
A series of snapping points or rips.
The lake is a question
of what the mountain can take or not.
The chorus afforded blue but barely.
The chorus of blue sang out of thin voices in oxygen-thin air.
The blue vibrated electrons in water and absorbed
what was not turned back.
We turned our backs on the war.
The chorus of blue tilted our eyes, and filterering, taught us to filter,
but out what?
The chorus of blue held itself up, a mirror of itself, fanatic and 
fantastic.
Abstract blue--a new coin--took the center
through, through.
We turned our backs on the lake.
A series of snapping points or rips.
The chorus filtered out disturbance, filtered out detail and violence
and observance.
Tilt, shine, tilt. . . .
what did we shed again, and why?
A little girl went back sobbing
who had to leave the clearest sky.

*Endi Bogue Hartigan*



*from Inverse*

                   Roots open                     rise and run

                     his face compare to       string notation

                         logic
               required and where

         but this cannot           and without it
                   box step          the sun and      box step          
the moon

*Maryrose Larkin*

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Spare Room presents<br>
<br>
<b>Endi Bogue Hartigan<br>
Maryrose Larkin<br>
</b><br>
<br>
Sunday, January 11<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming readings:<br>
<br>
January 25: 100 Poems by 100 Poets from the Past 100 Years:<br>
&nbsp;&nbsp; Spare Room's 100th Reading<br>
February 1: Laynie Browne / Jared Hayes<br>
February 8: Andrew Joron / Andrew Zawacki<br>
<br>
=============================================<br>
<br>
<b>Endi Bogue Hartigan</b> will be reading from her first book, <i>One
Sun Storm</i>, and from a new manuscript. <i>One Sun Storm</i> was
selected for the 2008 Colorado Prize for Poetry by Martha Ronk, and was
released in November from the Center for Literary Publishing. Her work
has recently appeared or is forthcoming in <i>Chicago Review, Free
Verse, TinFish, Gulf Coast, Pleiades, </i>and<i> Quarterly West</i>.
Endi edited and cofounded, with her husband poet Patrick Hartigan, <i>Spectaculum</i>,
a magazine that was devoted to long poems, series, and projects best
presented at length. She lives in Portland, with Patrick and their son
Jackson.<br>
<br>
<b>Maryrose Larkin</b> lives in Portland, where she works as a
freelance researcher. She is the author of <i>Inverse</i> (nine muses
books), <i>Whimsy Daybook 2007</i> (FLASH+CARD), and <i>The Book of
Ocean</i> (i.e. press). Her work can also be found in <i>FO A RM,
Insurance, Bird Dog, Columbia Poetry Review, </i>and<i> Washington
Review</i>. Maryrose is one of the organizers of Spare Room, and is
coeditor, with Sarah Mangold, of FLASH+CARD, a chapbook and ephemera
poetry press.<br>
<br>
=============================================<br>
<br>
<br>
<b>Chorus of blue [Crater Lake, 2007]</b><br>
&nbsp;<br>
The question of change<br>
is a question of what we can afford to continue.<br>
A series of snapping points or rips.<br>
The lake is a question<br>
of what the mountain can take or not.<br>
The chorus afforded blue but barely.<br>
The chorus of blue sang out of thin voices in oxygen-thin air.<br>
The blue vibrated electrons in water and absorbed<br>
what was not turned back.<br>
We turned our backs on the war.<br>
The chorus of blue tilted our eyes, and filterering, taught us to
filter,<br>
but out what?<br>
The chorus of blue held itself up, a mirror of itself, fanatic and
fantastic.<br>
Abstract blue--a new coin--took the center<br>
through, through.<br>
We turned our backs on the lake.<br>
A series of snapping points or rips.<br>
The chorus filtered out disturbance, filtered out detail and violence<br>
and observance.<br>
Tilt, shine, tilt. . . .<br>
what did we shed again, and why?<br>
A little girl went back sobbing<br>
who had to leave the clearest sky.<br>
<br>
<b>Endi Bogue Hartigan</b><br>
<br>
<br>
<br>
<b>from Inverse</b><br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Roots open&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rise and run<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; his face compare to&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; string notation<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; logic<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; required and where<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; but this cannot&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; and without it<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; box step&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; the sun and&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; box step&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
the moon<br>
<br>
<b>Maryrose Larkin</b><br>
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from Dan Raphael:

Thursday, January 15
7:30 pm
Powell's Books on Hawthorne
Free admission

"I'll be reading at powells on Hawthorne with Rodney Koeneke. As you may 
know, Rodney is an insightful, inventive and entertaining poet; he'll be 
reading from his most recent book, Musee Mechanique, as well as newer 
work.  I'll be featuring work form Bop Grit Storm Cafe, a book published 
in 1985 but just reissued last month, as well as some newer stuff. Bop 
Grit may be my most intense collection in terms of language creativity 
and energy. Hope you can come by."  -- Dan



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Subject: [Spare Room Press Release] FWD: Boykoff/Zirin on PGE Park
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An op-ed piece in today's Guardian by Jules Boykoff (local poet and 
Professor of Politics at Pacific University) and Dave Zirin (author of A 
People's History of Sports, and the first sports writer in the history 
of the Nation magazine)

*My own private bail-out*

After pushing for a $700bn bail-out for Wall Street, Henry Paulson wants 
Oregon residents to buy him a soccer stadium

Read the editorial here:
http://www.guardian.co.uk/commentisfree/cifamerica/2009/jan/14/henry-paulson-portland-sports





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An op-ed piece in today's Guardian by Jules Boykoff (local poet and
Professor of Politics at Pacific University) and Dave Zirin (author of
A People's History of Sports, and the first sports writer in the
history of the Nation magazine)<br>
<br>
<b>My own private bail-out</b><br>
<br>
After pushing for a $700bn bail-out for Wall Street, Henry Paulson
wants Oregon residents to buy him a soccer stadium<br>
<br>
Read the editorial here:<br>
<a class="moz-txt-link-freetext" href="http://www.guardian.co.uk/commentisfree/cifamerica/2009/jan/14/henry-paulson-portland-sports">http://www.guardian.co.uk/commentisfree/cifamerica/2009/jan/14/henry-paulson-portland-sports</a><br>
<br>
<br>
<br>
<br>
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*Spare Room's 100th Reading*

The Spare Room reading series celebrates seven years of presenting 
experimental writing in Portland with a marathon hundredth reading


Spare Room organizers past and present (with friends) will read

*100 Poems by 100 Poets from the Past 100 Years*


*Sunday, January 25*

starting at 2:00 pm
ending when we finish (6:00? 7:00?)

*Free admission*

Gallery Homeland
(at the Ford Building)

2505 SE 11th Avenue
www.galleryhomeland.org

www.flim.com/spareroom

======================

 > From Helen Adam to Louis Zukofsky, from Futurism to Personism, from 
Hiroshima to Blackhawk Island, from a Polish count to a Peruvian 
communist, from Dada to MoMA, from prisoners of war to secret agents, 
from mimeographers to bloggers . . . come hear a small but 
representative slice of the extraordinary range of poetries practiced in 
the past century!

Readers will include:

David Abel
Meredith Blankinship
Joseph Bradshaw
Alicia Cohen
Gale Czerski
Laura Feldman
Patrick Hartigan
Lindsay Hill
Rodney Koeneke
Maryrose Larkin
Sam Lohmann
Jesse Morse
Mark Owens & crew*
Chris Piuma
Dan Raphael
James Yeary

* sound poetry performers:
Leo & Anna Daedalus
Tony Christy
Linda Austin
Lisa Radon with
  Neville, Molly, & Oskar

and more . . .


Reading poems by:

Helen Adam
Charles Amirkhanian
Guillaume Apollinaire
Hugo Ball
Ted Berrigan
Mei-mei Berssenbrugge
Robin Blaser
Nicole Brossard
Basil Bunting
Anne Carson
Constantine Cavafy
Joseph Ceravolo
Theresa Hak Kyung Cha
Inger Christiansen
Robert Creeley
Beverly Dahlen
Robert Desnos
H.D.
Francois Dufrene
Robert Duncan
Russell Edson
Jennifer Crystal Fang-Chien
Kevin Goodan
Linda Gregg
Bill Griffiths
Barbara Guest
Carla Harryman
Dick Higgins
Ake Hodell
Fanny Howe
Susan Howe
Philip Jenks
Karen Kelley
Aleksei Kruchenyk
Gerrit Lansing
Jackson Mac Low
Bernadette Mayer
Marianne Moore
Christian Morgenstern
Harryette Mullen
Susan Smith Nash
bp nichol
Lorine Niedecker
Alice Notley
Frank O'Hara
George Oppen
Michael Palmer
Bob Perelman
Dennis Phillips
Laura Riding
Joan Retallack
Gerhard Rühm
Diana Saenz
Frank Samperi
Aram Saroyan
Kurt Schwitters
David Shapiro
Charles Sharpe
Ron Silliman
Gustaf Sobin
Jack Spicer
Gertrude Stein
Wallace Stevens
Rhett Stuart
Cole Swenson
John Taggart
Nathaniel Tarn
Alberta Turner
César Vallejo
Lew Welch
Hannah Weiner
Jonathan Williams
William Carlos Williams
C.D. Wright
Araki Yasusada
Louis Zukofsky

and many more!


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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
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<b>Spare Room's 100th Reading</b><br>
<br>
The Spare Room reading series
celebrates seven years of presenting experimental writing in Portland
with a marathon hundredth reading<br>
<br>
<br>
Spare Room organizers past and present (with friends) will read<br>
<br>
<b>100 Poems by 100 Poets from the Past 100 Years</b><br>
<br>
<br>
<b>Sunday, January 25</b><br>
<br>
starting at 2:00 pm <br>
ending when we finish (6:00? 7:00?)<br>
<br>
<b>Free admission</b><br>
<br>
Gallery Homeland <br>
(at the Ford Building)<br>
<br>
2505 SE 11th Avenue<br>
<a class="moz-txt-link-abbreviated"
 href="http://www.galleryhomeland.org">www.galleryhomeland.org</a><br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<br>
======================<br>
<br>
&gt; From Helen Adam to Louis Zukofsky, from Futurism to Personism,
from
Hiroshima to Blackhawk Island, from a Polish count to a Peruvian
communist, from Dada to MoMA, from prisoners of war to secret agents,
from mimeographers to bloggers . . . come hear a small but
representative slice of the extraordinary range of poetries practiced
in the past century!<br>
<br>
Readers will include:<br>
<br>
David Abel<br>
Meredith Blankinship<br>
Joseph Bradshaw<br>
Alicia Cohen<br>
Gale Czerski<br>
Laura Feldman<br>
Patrick Hartigan <br>
Lindsay Hill<br>
Rodney Koeneke<br>
Maryrose Larkin<br>
Sam Lohmann<br>
Jesse Morse<br>
Mark Owens &amp; crew*<br>
Chris Piuma<br>
Dan Raphael<br>
James Yeary<br>
<br>
* sound poetry performers:<br>
Leo &amp; Anna Daedalus<br>
Tony Christy<br>
Linda Austin<br>
Lisa Radon with<br>
&nbsp; Neville, Molly, &amp; Oskar<br>
<br>
and more . . .<br>
<br>
<br>
Reading poems by:<br>
<br>
Helen Adam<br>
Charles Amirkhanian<br>
Guillaume Apollinaire<br>
Hugo Ball<br>
Ted Berrigan<br>
Mei-mei Berssenbrugge<br>
Robin Blaser<br>
Nicole Brossard<br>
Basil Bunting<br>
Anne Carson<br>
Constantine Cavafy<br>
Joseph Ceravolo<br>
Theresa Hak Kyung Cha<br>
Inger Christiansen<br>
Robert Creeley<br>
Beverly Dahlen<br>
Robert Desnos<br>
H.D.<br>
Francois Dufrene<br>
Robert Duncan<br>
Russell Edson<br>
Jennifer Crystal Fang-Chien<br>
Kevin Goodan<br>
Linda Gregg<br>
Bill Griffiths<br>
Barbara Guest<br>
Carla Harryman<br>
Dick Higgins<br>
Ake Hodell<br>
Fanny Howe<br>
Susan Howe<br>
Philip Jenks<br>
Karen Kelley<br>
Aleksei Kruchenyk<br>
Gerrit Lansing<br>
Jackson Mac Low<br>
Bernadette Mayer<br>
Marianne Moore<br>
Christian Morgenstern<br>
Harryette Mullen<br>
Susan Smith Nash<br>
bp nichol<br>
Lorine Niedecker<br>
Alice Notley<br>
Frank O'Hara<br>
George Oppen<br>
Michael Palmer<br>
Bob Perelman<br>
Dennis Phillips<br>
Laura Riding<br>
Joan Retallack<br>
Gerhard R&uuml;hm<br>
Diana Saenz<br>
Frank Samperi<br>
Aram Saroyan<br>
Kurt Schwitters<br>
David Shapiro<br>
Charles Sharpe<br>
Ron Silliman<br>
Gustaf Sobin<br>
Jack Spicer<br>
Gertrude Stein<br>
Wallace Stevens<br>
Rhett Stuart<br>
Cole Swenson<br>
John Taggart<br>
Nathaniel Tarn<br>
Alberta Turner<br>
C&eacute;sar Vallejo<br>
Lew Welch<br>
Hannah Weiner<br>
Jonathan Williams<br>
William Carlos Williams<br>
C.D. Wright<br>
Araki Yasusada<br>
Louis Zukofsky<br>
<br>
and many more!<br>
<br>
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from Jesse Morse:

Peaches & Bats Release Party

with readings by

David Abel
Joseph Bradshaw
Kaia Sand
Sam Lohmann

and long-tone music in just intonation by
Warren Lee (harmonium), Ian Ackerman (violin), and Gabriel Will (viola).


Friday, January 30
7:00 pm

The Waypost
3120 N. Williams Avenue
http://www.thewaypost.com

Food, beer, wine and espresso all available at The Waypost.  Festivities 
underway at 7pm.

http://www.smorgreadingseries.blogspot.com

-------

Peaches and Bats #3 features new work by: David Abel, Jennifer Bartlett, 
Joseph Bradshaw, Stephen Collis, Elaine Equi, Ming Holden, Rich Jensen, 
Stacey Levine, Lauren Likely, Will Owen, Kaia Sand, Brandon Shimoda, 
Luvsandorjin Ulziitugs (translated by Simon Wickham-Smith), What We Are 
Learning, and Deborah Woodard.

Peaches and Bats #3 is a hand-sewn zine with a letterpress cover and 72 
pg. photocopied interior. It costs $5, and can be purchased in Portland 
at Powell's or Reading Frenzy; in Olympia at Orca Books or Dumpster 
Values; and in Seattle at Elliott Bay Books. Soon it will also be 
available at St. Mark's Bookstore in New York, and eventually, I hope, 
in other select corners of the world. You can also order it directly 
from me by sending a check for $5 (postage included) to Sam Lohmann, 
4025 SE Taylor St., Portland, OR 97214. Or email me about trading for 
your chapbook or zine.

Submissions for issue 4 are welcome at peachesandbats@gmail.com.

-------

David Abel has the most extraordinary air of self-satisfaction. Yet, if 
we stop to examine those Chinese writings of his that he so 
presumptuously scatters about the place, we find that they are full of 
imperfections. Someone who makes such an effort to be different from 
others is bound to fall in people's esteem, and I can only think that 
his future will be a hard one. If one gives free rein to one's emotions 
even under the most inappropriate circumstances, if one has to sample 
each interesting thing that comes along, people are bound to regard one 
as frivolous. And how can things turn out well for such a man?

Joseph Bradshaw eats chicken and horses in Portland when he's not 
teaching the world to sing at Portland State University or Pacific 
Northwest College of Art or writing his famous chapbooks such as The Way 
Birds Become (Weather Press) and This Ocean, or Oppen Series (Cannibal 
Books).

Kaia Sand is the author of the poetry collection interval (Edge Books, 
2004), the wee book lotto, the chapbooks Heart on a Tripod and tiny 
arctic ice (all from Dusie), and The NAFTA (forthcoming from Duration 
Press echap series). Jim Dine created artist books from tiny arctic ice 
and lotto (Steidl, 2008), and Sand coauthored Landscapes of Dissent: 
Guerrilla Poetry & Public Space (Palm Press, 2008) with Jules Boykoff.

Sam Lohmann is a poet, editor, letterpress printer, ex-busboy, future 
substitute preschool teacher, occasional tutor, and temporary cashier in 
Portland, Oregon. He will be reading work written by others for his 
yearly zine, "Peaches and Bats."

Gabriel Will and Ian Ackerman (Olympia), and Warren Lee (Portland) play 
long-tone music in just intonation. In 2007, they completed a recording 
residency at the Satsop Nuclear Cooling Tower in Elma, Wa. In 2009 they 
had a "Super Weekend."


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from Jesse Morse:<br>
<br>
Peaches &amp; Bats Release Party<br>
<br>
with readings by<br>
<br>
David Abel<br>
Joseph Bradshaw<br>
Kaia Sand<br>
Sam Lohmann<br>
<br>
and long-tone music in just intonation by<span class="Apple-style-span"
 style="font-family: Times; font-size: 16px;">
<br>
Warren Lee (harmonium), Ian Ackerman (violin), and Gabriel Will (viola).<br>
</span><span class="Apple-style-span"
 style="font-family: Times; font-size: 16px;"></span><br>
<br>
Friday, January 30<br>
7:00 pm<br>
<br>
The Waypost<br>
3120 N. Williams Avenue<br>
<a class="moz-txt-link-freetext" href="http://www.thewaypost.com">http://www.thewaypost.com</a><a
 class="moz-txt-link-freetext"
 href="http://www.smorgreadingseries.blogspot.com"></a><br>
<br>
Food, beer, wine and espresso all available at The Waypost.&nbsp;
Festivities underway at 7pm.<br>
<br>
<a class="moz-txt-link-freetext"
 href="http://www.smorgreadingseries.blogspot.com">http://www.smorgreadingseries.blogspot.com</a><br>
<br>
-------<br>
<br>
Peaches and Bats #3 features new work by: David Abel, Jennifer
Bartlett, Joseph Bradshaw, Stephen Collis, Elaine Equi, Ming Holden,
Rich Jensen, Stacey Levine, Lauren Likely, Will Owen, Kaia Sand,
Brandon Shimoda, Luvsandorjin Ulziitugs (translated by Simon
Wickham-Smith), What We Are Learning, and Deborah Woodard.<br>
<br>
Peaches and Bats #3 is a hand-sewn zine with a letterpress cover and 72
pg. photocopied interior. It costs $5, and can be purchased in Portland
at Powell's or Reading Frenzy; in Olympia at Orca Books or Dumpster
Values; and in Seattle at Elliott Bay Books. Soon it will also be
available at St. Mark's Bookstore in New York, and eventually, I hope,
in other select corners of the world. You can also order it directly
from me by sending a check for $5 (postage included) to Sam Lohmann,
4025 SE Taylor St., Portland, OR 97214. Or email me about trading for
your chapbook or zine.<br>
<br>
Submissions for issue 4 are welcome at <a
 class="moz-txt-link-abbreviated" href="mailto:peachesandbats@gmail.com">peachesandbats@gmail.com</a>.<br>
<br>
-------<br>
<br>
David Abel has the most extraordinary air of self-satisfaction. Yet, if
we stop to examine those Chinese writings of his that he so
presumptuously scatters about the place, we find that they are full of
imperfections. Someone who makes such an effort to be different from
others is bound to fall in people's esteem, and I can only think that
his future will be a hard one. If
one gives free rein to one's emotions even under the most inappropriate
circumstances, if one has to sample each interesting thing that comes
along, people are bound to regard one as frivolous. And how can things
turn out well for such a man?<br>
<br>
Joseph Bradshaw eats chicken and horses in Portland when he's not
teaching the world to sing at Portland State University or Pacific
Northwest College of Art or writing his famous chapbooks such as The
Way Birds Become (Weather Press) and This Ocean, or Oppen Series
(Cannibal Books).<br>
<br>
Kaia Sand is the author of the poetry collection interval (Edge Books,
2004), the wee book lotto, the chapbooks Heart on a Tripod and tiny
arctic ice (all from Dusie), and The NAFTA (forthcoming from Duration
Press echap series). Jim Dine created artist books from tiny arctic ice
and lotto (Steidl, 2008), and Sand coauthored Landscapes of Dissent:
Guerrilla Poetry &amp; Public Space (Palm Press, 2008) with Jules
Boykoff.<br>
<br>
Sam Lohmann is a poet, editor, letterpress printer, ex-busboy, future
substitute preschool teacher, occasional tutor, and temporary cashier
in
Portland, Oregon. He will be reading work written by others for his
yearly zine, "Peaches and Bats."<br>
<br>
<span class="Apple-style-span"
 style="font-family: Times; font-size: 16px;">Gabriel
Will and Ian Ackerman (Olympia), and Warren Lee (Portland) play
long-tone music in just intonation. In 2007, they completed a recording
residency at the Satsop Nuclear <span
 style="border-bottom: medium none; background: transparent none repeat scroll 0% 50%; cursor: pointer; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;"
 class="yshortcuts" id="lw_1231916571_9">Cooling Tower</span> in Elma,
Wa. In 2009 they had a "Super Weekend."</span><br>
<br>
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From passages@rdrop.com Mon Jan 19 23:43:46 2009
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Spare Room presents

*Laynie Browne
Jared Hayes
*
Sunday, February 1
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming readings:

January 25: 100 Poems by 100 Poets from the Past 100 Years:
   Spare Room's 100th Reading
February 1: Laynie Browne / Jared Hayes
February 8: Andrew Joron / Andrew Zawacki

=============================================

Laynie Browne is the author of seven collections of poetry and one 
novel.  Her most recent publications include /The Scented Fox/ (Wave), 
/Daily Sonnets/ (Counterpath) and /Drawing of a Swan Before Memory/ 
(University of Georgia). She was for many years a member of the Subtext 
Collective in Seattle, and now is part of the POG reading series in 
Tucson. She is currently developing a new a poetry-in-the-schools 
program for K-5 schools, through the Poetry Center at the University of 
Arizona.

jared hayes lives in portland, oregon. he is publisher and co-editor of 
livestock editions. jared hayes believes in ghosts. his poetry can be 
found.

=============================================


/*from*/* Radiolarian Atlas*


/Petalospyris arachnoides

/Descending claw
spider thrift
Ten-legged trope
with triceratops leanings

Inside your yellow-chambered
soirée is a bouncing
reverie of a ballroom
O hidden balustrade,
from whose aquamarine invitation
was this divine gathering sung?


*Laynie Browne
*


*from night after night*


mesostic transpsych(ot)ic iteration

this is the best leJos to do things. this is the very best ecerrAda to 
do things. this is the very best sIempre to do things exactly poeMa 
transparEncia now and excluSiva is the night acercAdo doing the night 
dEstino and this is the night illumiNan doing the night veZ at the night 
caJa and these are the night brAzos at the night imagIna and this is the 
night Mascara doing the night Escribe at the night Seno in the night 
rosAs and these are the night tormEnta doing the night muNdo to the 
night quiZa at the night refleJaba and these are the estrellA that are 
exactly night and these exactly night habIta are doing their Muerte 
which is night and carnE is the night poSa to oscuridAd at the night 
gravE which is night now and night now cuerNos is exactly night night 
now where atroZ is.

*Jared Hayes*

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Spare Room presents<br>
<br>
<b>Laynie Browne<br>
Jared Hayes<br>
</b><br>
Sunday, February 1<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming readings:<br>
<br>
January 25: 100 Poems by 100 Poets from the Past 100 Years:<br>
&nbsp;&nbsp; Spare Room's 100th Reading<br>
February 1: Laynie Browne / Jared Hayes<br>
February 8: Andrew Joron / Andrew Zawacki<br>
<br>
=============================================<br>
<br>
Laynie Browne is the author of seven collections of poetry and one
novel.&nbsp; Her most recent publications include <i>The Scented Fox</i>
(Wave), <i>Daily Sonnets</i> (Counterpath) and <i>Drawing of a
Swan Before Memory</i>
(University of Georgia). She was for many years a member of the Subtext
Collective in Seattle, and now is part of the POG reading series in
Tucson. She is currently developing a new a
poetry-in-the-schools program for K-5 schools, through the Poetry
Center at the University of
Arizona.<br>
<br>
jared hayes lives in portland, oregon. he is publisher and co-editor of
livestock editions. jared hayes believes in ghosts.&nbsp;his&nbsp;poetry can be
found. <br>
<br>
=============================================<br>
<br>
<br>
<i><b>from</b></i><b> Radiolarian Atlas</b><br>
<br>
<br>
<i>Petalospyris arachnoides<br>
<br>
</i>Descending claw<br>
spider thrift<br>
Ten-legged trope<br>
with triceratops leanings<br>
<br>
Inside your yellow-chambered<br>
soir&eacute;e is a bouncing<br>
reverie of a ballroom<br>
O hidden balustrade,<br>
from whose aquamarine invitation<br>
was this divine gathering sung?<br>
<br>
<br>
<b>Laynie Browne<br>
</b><br>
<br>
<br>
<div><b><span class="Apple-style-span" style="font-style: italic;">from
</span>night after night</b></div>
<div><br>
<br>
mesostic transpsych(ot)ic iteration<br>
</div>
<div><br>
</div>
<span class="Apple-style-span" style="line-height: 18px;"><span
 class="Apple-style-span" style="font-family: 'times new roman',serif;">this
is the best leJos to do things. this is the very best ecerrAda to do
things. this is the very best sIempre to do things exactly poeMa
transparEncia now and excluSiva is the night acercAdo doing the night
dEstino and this is the night illumiNan doing the night veZ at the
night caJa and these are the night brAzos at the night imagIna and this
is the night Mascara doing the night Escribe at the night Seno in the
night rosAs and these are the night tormEnta doing the night muNdo to
the night quiZa at the night refleJaba and these are the estrellA that
are exactly night and these exactly night habIta are doing their Muerte
which is night and carnE is the night poSa to oscuridAd at the night
gravE which is night now and night now cuerNos is exactly night night
now where atroZ is.<br>
<br>
<b>Jared Hayes</b><br>
</span></span></div>
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From larryg1113@yahoo.com Tue Jan 20 12:23:21 2009
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I would like to find out what activites and events that passages offers. thanks Larry



      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;">I would like to find out what activites and events that passages offers. thanks Larry<br></td></tr></table><br>



      
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*Spare Room's 100th Reading*

The Spare Room reading series celebrates seven years of presenting 
experimental writing in Portland with a marathon hundredth reading.


Spare Room organizers past and present (with friends) will read

*100 Poems by 100 Poets from the Past 100 Years*


*Sunday, January 25*

starting at 2:00 pm
ending when we finish
(we're guessing 7:00 or so . . . but it's just a guess)

*Free admission*

(Savory and sweet snacks, and hot and cold beverages, purveyed by the 
incomparable Cyndy Chan, will be available for purchase.)

Gallery Homeland
(at the Ford Building)

2505 SE 11th Avenue
www.galleryhomeland.org

www.flim.com/spareroom

======================

 >From Helen Adam to Louis Zukofsky, from Futurism to Personism, from 
Hiroshima to Blackhawk Island, from a Polish count to a Peruvian 
communist, from a Dada priest to a MoMA curator, from prisoners of war 
to secret agents, from mimeographers to bloggers . . . come hear a small 
but representative slice of the extraordinary range of poetries 
practiced in the past century!

Readers will include:

David Abel
Joel Bettridge
Meredith Blankinship
Joseph Bradshaw
Alicia Cohen
Gale Czerski
Laura Feldman
Patrick Hartigan
Lindsay Hill
Rodney Koeneke
Maryrose Larkin
Sam Lohmann
Jesse Morse
Mark Owens & crew*
Chris Piuma
Dan Raphael
James Yeary

* sound poetry performers:
   Leo & Anna Daedalus
   Tony Christy
   Linda Austin
   Brianna Farina & friends
   Lisa Radon with
     Neville, Molly, & Oskar

and more . . .


Reading poems by:

Helen Adam
Charles Amirkhanian
Guillaume Apollinaire
Hugo Ball
Ted Berrigan
Mei-mei Berssenbrugge
Robin Blaser
Nicole Brossard
Basil Bunting
Anne Carson
Constantine Cavafy
Joseph Ceravolo
Theresa Hak Kyung Cha
Henri Chopin
Inger Christiansen
Thomas A. Clark
Robert Creeley
Beverly Dahlen
Robert Desnos
H.D.
Robert Duncan
Russell Edson
Jennifer Crystal Fang-Chien
Roger Gilbert-Lecomte
Kevin Goodan
Linda Gregg
Bill Griffiths
Barbara Guest
Carla Harryman
Dick Higgins
Ake Hodell
Fanny Howe
Susan Howe
Philip Jenks
Karen Kelley
Aleksei Kruchenyk
Gerrit Lansing
Jackson Mac Low
Bernadette Mayer
Marianne Moore
Christian Morgenstern
Harryette Mullen
Susan Smith Nash
bp nichol
Lorine Niedecker
Alice Notley
Frank O'Hara
George Oppen
Michael Palmer
Bob Perelman
Dennis Phillips
Laura Riding
Joan Retallack
Lisa Robertson
Gerhard Rühm
Diana Saenz
Frank Samperi
Aram Saroyan
James Schuyler
Kurt Schwitters
David Shapiro
Charles Sharpe
Ron Silliman
Gustaf Sobin
Jack Spicer
Gertrude Stein
Wallace Stevens
Rhett Stuart
Cole Swenson
John Taggart
Nathaniel Tarn
Alberta Turner
César Vallejo
Lew Welch
Hannah Weiner
John Wieners
Jonathan Williams
William Carlos Williams
C.D. Wright
Araki Yasusada
Louis Zukofsky

and many more!

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<b>Spare Room's 100th Reading</b><br>
<br>
The Spare Room reading series
celebrates seven years of presenting experimental writing in Portland
with a marathon hundredth reading.<br>
<br>
<br>
Spare Room organizers past and present (with friends) will read<br>
<br>
<b>100 Poems by 100 Poets from the Past 100 Years</b><br>
<br>
<br>
<b>Sunday, January 25</b><br>
<br>
starting at 2:00 pm <br>
ending when we finish <br>
(we're guessing 7:00 or so . . . but it's just a guess)<br>
<br>
<b>Free admission</b><br>
<br>
(Savory and sweet snacks, and hot and cold beverages, purveyed by the
incomparable Cyndy Chan, will be available for purchase.)<br>
<br>
Gallery Homeland <br>
(at the Ford Building)<br>
<br>
2505 SE 11th Avenue<br>
<a class="moz-txt-link-abbreviated"
 href="http://www.galleryhomeland.org">www.galleryhomeland.org</a><br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<br>
======================<br>
<br>
&gt;From Helen Adam to Louis Zukofsky, from Futurism to Personism,
from
Hiroshima to Blackhawk Island, from a Polish count to a Peruvian
communist, from a Dada priest to a MoMA curator, from prisoners of war
to secret agents,
from mimeographers to bloggers . . . come hear a small but
representative slice of the extraordinary range of poetries practiced
in the past century!<br>
<br>
Readers will include:<br>
<br>
David Abel<br>
Joel Bettridge<br>
Meredith Blankinship<br>
Joseph Bradshaw<br>
Alicia Cohen<br>
Gale Czerski<br>
Laura Feldman<br>
Patrick Hartigan <br>
Lindsay Hill<br>
Rodney Koeneke<br>
Maryrose Larkin<br>
Sam Lohmann<br>
Jesse Morse<br>
Mark Owens &amp; crew*<br>
Chris Piuma<br>
Dan Raphael<br>
James Yeary<br>
<br>
* sound poetry performers:<br>
&nbsp;&nbsp; Leo &amp; Anna Daedalus<br>
&nbsp;&nbsp; Tony Christy<br>
&nbsp;&nbsp; Linda Austin<br>
&nbsp;&nbsp; Brianna Farina &amp; friends<br>
&nbsp;&nbsp; Lisa Radon with<br>
&nbsp; &nbsp;&nbsp; Neville, Molly, &amp; Oskar<br>
<br>
and more . . .<br>
<br>
<br>
Reading poems by:<br>
<br>
Helen Adam<br>
Charles Amirkhanian<br>
Guillaume Apollinaire<br>
Hugo Ball<br>
Ted Berrigan<br>
Mei-mei Berssenbrugge<br>
Robin Blaser<br>
Nicole Brossard<br>
Basil Bunting<br>
Anne Carson<br>
Constantine Cavafy<br>
Joseph Ceravolo<br>
Theresa Hak Kyung Cha<br>
Henri Chopin<br>
Inger Christiansen<br>
Thomas A. Clark<br>
Robert Creeley<br>
Beverly Dahlen<br>
Robert Desnos<br>
H.D.<br>
Robert Duncan<br>
Russell Edson<br>
Jennifer Crystal Fang-Chien<br>
Roger Gilbert-Lecomte<br>
Kevin Goodan<br>
Linda Gregg<br>
Bill Griffiths<br>
Barbara Guest<br>
Carla Harryman<br>
Dick Higgins<br>
Ake Hodell<br>
Fanny Howe<br>
Susan Howe<br>
Philip Jenks<br>
Karen Kelley<br>
Aleksei Kruchenyk<br>
Gerrit Lansing<br>
Jackson Mac Low<br>
Bernadette Mayer<br>
Marianne Moore<br>
Christian Morgenstern<br>
Harryette Mullen<br>
Susan Smith Nash<br>
bp nichol<br>
Lorine Niedecker<br>
Alice Notley<br>
Frank O'Hara<br>
George Oppen<br>
Michael Palmer<br>
Bob Perelman<br>
Dennis Phillips<br>
Laura Riding<br>
Joan Retallack<br>
Lisa Robertson<br>
Gerhard R&uuml;hm<br>
Diana Saenz<br>
Frank Samperi<br>
Aram Saroyan<br>
James Schuyler<br>
Kurt Schwitters<br>
David Shapiro<br>
Charles Sharpe<br>
Ron Silliman<br>
Gustaf Sobin<br>
Jack Spicer<br>
Gertrude Stein<br>
Wallace Stevens<br>
Rhett Stuart<br>
Cole Swenson<br>
John Taggart<br>
Nathaniel Tarn<br>
Alberta Turner<br>
C&eacute;sar Vallejo<br>
Lew Welch<br>
Hannah Weiner<br>
John Wieners<br>
Jonathan Williams<br>
William Carlos Williams<br>
C.D. Wright<br>
Araki Yasusada<br>
Louis Zukofsky<br>
<br>
and many more!<br>
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Two eleventh-hour notes about Sunday's Spare Room marathon 100th reading:

1. BYOB!

2. A /very/ approximate schedule follows, to assist you in deciding 
which precious minutes/hours to devote to the occasion. There are sure 
to be last-minute changes, errors in estimation, and general drift away 
from the template, but this is at least a guide to the order of the 
readers during the event.

See you there!



~ 2:00 - 3:15 pm

*Maryrose Larkin* reads:  /H.D., Barbara Guest, Susan Howe, Gertrude Stein/
*Jesse Morse* reads:  /Ted Berrigan, Inger Christensen, Fanny Howe, 
Leonel Rugama, Diana Saenz/
*Chris Piuma* reads:  /Tina Darragh, Thomas A. Clark, Jackson Mac Low, 
David Melnick, Hannah Weiner/
*Joel Bettridge* reads:  /Nicole Brosssard, Robert Creeley, Ronald 
Johnson, Dennis Phillips, Louis Zukofsky/
*Mark Owens (with Leo and Anna Daedalus, David Abel, and Tony Christy)* 
reads:  /Christian Morgenstern, Aleksei Kruchenykh, Hugo Ball, Kurt 
Schwitters/

    *INTERMISSION * [/Hugo Ball/]


~ 3:30 - 4:45 pm

*David Abel* reads:  /Paul Blackburn, C.P. Cavafy, Robert Desnos, Gene 
Frumkin, José Lezama Lima, Marianne Moore, Muriel Rukeyser/
*Joseph Bradshaw* reads:  /Joseph Ceravolo, Russell Edson, Philip Jenks, 
George Oppen, Laura Riding, Jack Spicer, Jonathan Williams/
*Lindsay Hill* reads:  /Robert Duncan, Jennifer Crystal Fang-Chien, 
Linda Gregg, Michael Palmer, Pamela Wye/
*Alicia Cohen* reads:  /Bill Griffiths, Bernadette Mayer, Harryette 
Mullen, Lorine Niedecker, Frank O'Hara/
*Rodney Koeneke* reads:  /Basil Bunting, Beverly Dahlen, Rainer Maria 
Rilke, Gustaf Sobin, Araki Yasusada/

    *INTERMISSION * [/Donato Mancini/]


~ 5:00 - 6:15 pm

*Mark Owens  (with David Abel)* reads:  /Dick Higgins, Ake Hodell/
*Sam Lohmann* reads:  /Guillaume Apollinaire, Roger Gilbert-Lecomte, 
Robert Kelly, Osip Mandelstam, Alice Notley, Lisa Robertson, David 
Shapiro, César Vallejo, William Carlos Williams/
*Meredith Blankinship* reads:  /Helen Adam, Robin Blaser, Lyn Hejinian, 
Wallace Stevens, Lew Welch/
*Dan Raphael* reads:  /Carla Harryman, Ruth Krauss, Gerrit Lansing, Mina 
Loy, David Rattray/
*Gale Czerski* reads:  /Mei-mei Berssenbrugge, Anne Carson, Karen 
Kelley, Alberta Turner, C.D. Wright/
 
   *INTERMISSION * [/Aram Saroyan/]


~ 6:30 - 8:00 pm

*Mark Owens (with Linda Austin, Lisa Radon, and Neville, Molly, and 
Oskar)* reads:  /bpNichol, Gerhard Rühm, Charles Amirkhanian/
*Patrick Hartigan* reads:  /Bob Perelman, Joan Retallack, Cole Swensen, 
Nathaniel Tarn, John Wieners/
*James Yeary* reads:  /Paul Celan, Kevin Goodan, Andrew Joron, Frank 
Samperi, John Taggart/
*Laura Feldman* reads:  /Theresa Hak Kyung Cha, Susan Smith Nash, 
Charles Sharpe, Ron Silliman, Rhett Stuart/
*David Abel* reads:  /James Schuyler, Mahmoud Darwish/




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Two eleventh-hour notes about Sunday's Spare Room marathon 100th
reading:<br>
<br>
1. BYOB!<br>
<br>
2. A <i>very</i> approximate schedule follows, to assist you in
deciding which precious minutes/hours to devote to the occasion. There
are sure to be
last-minute changes, errors in estimation, and general drift away from
the template, but this
is at least a guide to the order of the readers during the
event.<br>
<br>
See you there!<br>
<br>
<br>
<br>
~ 2:00 - 3:15 pm<br>
<br>
<b>Maryrose Larkin</b> reads:&nbsp; <i>H.D., Barbara Guest, Susan Howe,
Gertrude Stein</i><br>
<b>Jesse Morse</b> reads:&nbsp; <i>Ted Berrigan, Inger Christensen, Fanny
Howe, Leonel Rugama, Diana Saenz</i><br>
<b>Chris Piuma</b> reads:&nbsp; <i>Tina Darragh, Thomas A. Clark, Jackson
Mac Low, David Melnick, Hannah Weiner</i><br>
<b>Joel Bettridge</b> reads:&nbsp; <i>Nicole Brosssard, Robert Creeley,
Ronald Johnson, Dennis Phillips, Louis Zukofsky</i><br>
<b>Mark Owens (with Leo and Anna Daedalus, David Abel, and Tony Christy)</b>
reads:&nbsp; <i>Christian Morgenstern, Aleksei Kruchenykh, Hugo Ball, Kurt
Schwitters</i><br>
<br>
&nbsp;&nbsp;&nbsp; <b>INTERMISSION&nbsp;</b> [<i>Hugo Ball</i>]<br>
<br>
<br>
~ 3:30 - 4:45 pm<br>
<br>
<b>David Abel</b> reads:&nbsp; <i>Paul Blackburn, C.P. Cavafy, Robert
Desnos, Gene Frumkin, Jos&eacute; Lezama Lima, Marianne Moore, Muriel Rukeyser</i><br>
<b>Joseph Bradshaw</b> reads:&nbsp; <i>Joseph Ceravolo, Russell Edson,
Philip Jenks, George Oppen, Laura Riding, Jack Spicer, Jonathan Williams</i><br>
<b>Lindsay Hill</b> reads:&nbsp; <i>Robert Duncan, Jennifer Crystal
Fang-Chien, Linda Gregg, Michael Palmer, Pamela Wye</i><br>
<b>Alicia Cohen</b> reads:&nbsp; <i>Bill Griffiths, Bernadette Mayer,
Harryette Mullen, Lorine Niedecker, Frank O&#8217;Hara</i><br>
<b>Rodney Koeneke</b> reads:&nbsp; <i>Basil Bunting, Beverly Dahlen, Rainer
Maria Rilke, Gustaf Sobin, Araki Yasusada</i><br>
<br>
&nbsp;&nbsp;&nbsp; <b>INTERMISSION&nbsp;</b> [<i>Donato Mancini</i>]<br>
<br>
<br>
~ 5:00 - 6:15 pm<br>
<br>
<b>Mark Owens&nbsp; (with David Abel)</b> reads:&nbsp; <i>Dick Higgins, Ake
Hodell</i><br>
<b>Sam Lohmann</b> reads:&nbsp; <i>Guillaume Apollinaire, Roger
Gilbert-Lecomte, Robert Kelly, Osip Mandelstam, Alice Notley, Lisa
Robertson, David Shapiro, C&eacute;sar Vallejo, William Carlos Williams</i><br>
<b>Meredith Blankinship</b> reads:&nbsp; <i>Helen Adam, Robin Blaser, Lyn
Hejinian, Wallace Stevens, Lew Welch</i><br>
<b>Dan Raphael</b> reads:&nbsp; <i>Carla Harryman, Ruth Krauss, Gerrit
Lansing, Mina Loy, David Rattray</i><br>
<b>Gale Czerski</b> reads:&nbsp; <i>Mei-mei Berssenbrugge, Anne Carson,
Karen Kelley, Alberta Turner, C.D. Wright</i><br>
&nbsp;
<br>
&nbsp;&nbsp; <b>INTERMISSION&nbsp;</b> [<i>Aram Saroyan</i>]<br>
<br>
<br>
~ 6:30 - 8:00 pm<br>
<br>
<b>Mark Owens (with Linda Austin, Lisa Radon, and Neville, Molly, and
Oskar)</b> reads:&nbsp; <i>bpNichol, Gerhard R&uuml;hm, Charles Amirkhanian</i><br>
<b>Patrick Hartigan</b> reads:&nbsp; <i>Bob Perelman, Joan Retallack, Cole
Swensen, Nathaniel Tarn, John Wieners</i><br>
<b>James Yeary</b> reads:&nbsp; <i>Paul Celan, Kevin Goodan, Andrew Joron,
Frank Samperi, John Taggart</i><br>
<b>Laura Feldman</b> reads:&nbsp; <i>Theresa Hak Kyung Cha, Susan Smith
Nash, Charles Sharpe, Ron Silliman, Rhett Stuart</i><br>
<b>David Abel</b> reads:&nbsp; <i>James Schuyler, Mahmoud Darwish</i><br>
<br>
<br>
<br>
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from Jesse Morse and Sam Lohmann:


Peaches & Bats Release Party

with readings by

David Abel
Joseph Bradshaw
Kaia Sand
Sam Lohmann

and long-tone music in just intonation by
Warren Lee (harmonium), Ian Ackerman (violin), and Gabriel Will (viola).


Friday, January 30
7:00 pm

The Waypost
3120 N. Williams Avenue
http://www.thewaypost.com

Food, beer, wine, and espresso all available at The Waypost.  
Festivities underway at 7pm.

http://www.smorgreadingseries.blogspot.com

-------

Peaches and Bats #3 features new work by: David Abel, Jennifer Bartlett, 
Joseph Bradshaw, Stephen Collis, Elaine Equi, Ming Holden, Rich Jensen, 
Stacey Levine, Lauren Likely, Will Owen, Kaia Sand, Brandon Shimoda, 
Luvsandorjin Ulziitugs (translated by Simon Wickham-Smith), What We Are 
Learning, and Deborah Woodard.

Peaches and Bats #3 is a hand-sewn zine with a letterpress cover and 72 
pg. photocopied interior. It costs $5, and can be purchased in Portland 
at Powell's or Reading Frenzy; in Olympia at Orca Books or Dumpster 
Values; and in Seattle at Elliott Bay Books. Soon it will also be 
available at St. Mark's Bookstore in New York, and eventually, I hope, 
in other select corners of the world. You can also order it directly 
from me by sending a check for $5 (postage included) to Sam Lohmann, 
4025 SE Taylor St., Portland, OR 97214. Or email me about trading for 
your chapbook or zine.

Submissions for issue 4 are welcome at peachesandbats@gmail.com.

-------

David Abel has the most extraordinary air of self-satisfaction. Yet, if 
we stop to examine those Chinese writings of his that he so 
presumptuously scatters about the place, we find that they are full of 
imperfections. Someone who makes such an effort to be different from 
others is bound to fall in people's esteem, and I can only think that 
his future will be a hard one. If one gives free rein to one's emotions 
even under the most inappropriate circumstances, if one has to sample 
each interesting thing that comes along, people are bound to regard one 
as frivolous. And how can things turn out well for such a man?

Joseph Bradshaw eats chicken and horses in Portland when he's not 
teaching the world to sing at Portland State University or Pacific 
Northwest College of Art or writing his famous chapbooks such as The Way 
Birds Become (Weather Press) and This Ocean, or Oppen Series (Cannibal 
Books).

Kaia Sand is the author of the poetry collection interval (Edge Books, 
2004), the wee book lotto, the chapbooks Heart on a Tripod and tiny 
arctic ice (all from Dusie), and The NAFTA (forthcoming from Duration 
Press echap series). Jim Dine created artist books from tiny arctic ice 
and lotto (Steidl, 2008), and Sand coauthored Landscapes of Dissent: 
Guerrilla Poetry & Public Space (Palm Press, 2008) with Jules Boykoff.

Sam Lohmann is a poet, editor, letterpress printer, ex-busboy, future 
substitute preschool teacher, occasional tutor, and temporary cashier in 
Portland, Oregon. He will be reading work written by others for his 
yearly zine, "Peaches and Bats."

Gabriel Will and Ian Ackerman (Olympia), and Warren Lee (Portland) play 
long-tone music in just intonation. In 2007, they completed a recording 
residency at the Satsop Nuclear Cooling Tower in Elma, Wa. In 2009 they 
had a "Super Weekend."

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from Jesse Morse and Sam Lohmann:<br>
<br>
<br>
Peaches &amp; Bats Release Party<br>
<br>
with readings by<br>
<br>
David Abel<br>
Joseph Bradshaw<br>
Kaia Sand<br>
Sam Lohmann<br>
<br>
and long-tone music in just intonation by<span class="Apple-style-span"
 style="font-family: Times; font-size: 16px;">
<br>
Warren Lee (harmonium), Ian Ackerman (violin), and Gabriel Will (viola).<br>
</span><span class="Apple-style-span"
 style="font-family: Times; font-size: 16px;"></span><br>
<br>
Friday, January 30<br>
7:00 pm<br>
<br>
The Waypost<br>
3120 N. Williams Avenue<br>
<a class="moz-txt-link-freetext" href="http://www.thewaypost.com">http://www.thewaypost.com</a><br>
<br>
Food, beer, wine, and espresso all available at The Waypost.&nbsp;
Festivities underway at 7pm.<br>
<br>
<a class="moz-txt-link-freetext"
 href="http://www.smorgreadingseries.blogspot.com">http://www.smorgreadingseries.blogspot.com</a><br>
<br>
-------<br>
<br>
Peaches and Bats #3 features new work by: David Abel, Jennifer
Bartlett, Joseph Bradshaw, Stephen Collis, Elaine Equi, Ming Holden,
Rich Jensen, Stacey Levine, Lauren Likely, Will Owen, Kaia Sand,
Brandon Shimoda, Luvsandorjin Ulziitugs (translated by Simon
Wickham-Smith), What We Are Learning, and Deborah Woodard.<br>
<br>
Peaches and Bats #3 is a hand-sewn zine with a letterpress cover and 72
pg. photocopied interior. It costs $5, and can be purchased in Portland
at Powell's or Reading Frenzy; in Olympia at Orca Books or Dumpster
Values; and in Seattle at Elliott Bay Books. Soon it will also be
available at St. Mark's Bookstore in New York, and eventually, I hope,
in other select corners of the world. You can also order it directly
from me by sending a check for $5 (postage included) to Sam Lohmann,
4025 SE Taylor St., Portland, OR 97214. Or email me about trading for
your chapbook or zine.<br>
<br>
Submissions for issue 4 are welcome at <a
 class="moz-txt-link-abbreviated" href="mailto:peachesandbats@gmail.com">peachesandbats@gmail.com</a>.<br>
<br>
-------<br>
<br>
David Abel has the most extraordinary air of self-satisfaction. Yet, if
we stop to examine those Chinese writings of his that he so
presumptuously scatters about the place, we find that they are full of
imperfections. Someone who makes such an effort to be different from
others is bound to fall in people's esteem, and I can only think that
his future will be a hard one. If
one gives free rein to one's emotions even under the most inappropriate
circumstances, if one has to sample each interesting thing that comes
along, people are bound to regard one as frivolous. And how can things
turn out well for such a man?<br>
<br>
Joseph Bradshaw eats chicken and horses in Portland when he's not
teaching the world to sing at Portland State University or Pacific
Northwest College of Art or writing his famous chapbooks such as The
Way Birds Become (Weather Press) and This Ocean, or Oppen Series
(Cannibal Books).<br>
<br>
Kaia Sand is the author of the poetry collection interval (Edge Books,
2004), the wee book lotto, the chapbooks Heart on a Tripod and tiny
arctic ice (all from Dusie), and The NAFTA (forthcoming from Duration
Press echap series). Jim Dine created artist books from tiny arctic ice
and lotto (Steidl, 2008), and Sand coauthored Landscapes of Dissent:
Guerrilla Poetry &amp; Public Space (Palm Press, 2008) with Jules
Boykoff.<br>
<br>
Sam Lohmann is a poet, editor, letterpress printer, ex-busboy, future
substitute preschool teacher, occasional tutor, and temporary cashier
in
Portland, Oregon. He will be reading work written by others for his
yearly zine, "Peaches and Bats."<br>
<br>
<span class="Apple-style-span"
 style="font-family: Times; font-size: 16px;">Gabriel
Will and Ian Ackerman (Olympia), and Warren Lee (Portland) play
long-tone music in just intonation. In 2007, they completed a recording
residency at the Satsop Nuclear <span
 style="border-bottom: medium none; background: transparent none repeat scroll 0% 50%; cursor: pointer; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;"
 class="yshortcuts" id="lw_1231916571_9">Cooling Tower</span> in Elma,
Wa. In 2009 they had a "Super Weekend."</span></div>
</body>
</html>

--------------090101090802040203080803--

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Spare Room presents

*Laynie Browne
Jared Hayes
*
Sunday, February 1
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming readings:

February 8: Andrew Joron / Andrew Zawacki

=============================================

Laynie Browne is the author of seven collections of poetry and one 
novel.  Her most recent publications include /The Scented Fox/ (Wave), 
/Daily Sonnets/ (Counterpath) and /Drawing of a Swan Before Memory/ 
(University of Georgia). She was for many years a member of the Subtext 
Collective in Seattle, and now is part of the POG reading series in 
Tucson. She is currently developing a new a poetry-in-the-schools 
program for K-5 schools, through the Poetry Center at the University of 
Arizona.

jared hayes lives in portland, oregon. he is publisher and co-editor of 
livestock editions. jared hayes believes in ghosts. his poetry can be 
found.

=============================================


/*from*/* Radiolarian Atlas*


/Petalospyris arachnoides

/Descending claw
spider thrift
Ten-legged trope
with triceratops leanings

Inside your yellow-chambered
soirée is a bouncing
reverie of a ballroom
O hidden balustrade,
from whose aquamarine invitation
was this divine gathering sung?


*Laynie Browne
*


*from night after night*


mesostic transpsych(ot)ic iteration

this is the best leJos to do things. this is the very best ecerrAda to 
do things. this is the very best sIempre to do things exactly poeMa 
transparEncia now and excluSiva is the night acercAdo doing the night 
dEstino and this is the night illumiNan doing the night veZ at the night 
caJa and these are the night brAzos at the night imagIna and this is the 
night Mascara doing the night Escribe at the night Seno in the night 
rosAs and these are the night tormEnta doing the night muNdo to the 
night quiZa at the night refleJaba and these are the estrellA that are 
exactly night and these exactly night habIta are doing their Muerte 
which is night and carnE is the night poSa to oscuridAd at the night 
gravE which is night now and night now cuerNos is exactly night night 
now where atroZ is.

*Jared Hayes*

--------------050108090809070607060603
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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
<div class="moz-text-html" lang="x-western">Spare Room presents<br>
<div class="moz-text-html" lang="x-western">
<div class="moz-text-html" lang="x-western"><br>
<b>Laynie Browne<br>
Jared Hayes<br>
</b><br>
Sunday, February 1<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming readings:<br>
<br>
February 8: Andrew Joron / Andrew Zawacki<br>
<br>
=============================================<br>
<br>
Laynie Browne is the author of seven collections of poetry and one
novel.&nbsp; Her most recent publications include <i>The Scented Fox</i>
(Wave), <i>Daily Sonnets</i> (Counterpath) and <i>Drawing of a
Swan Before Memory</i>
(University of Georgia). She was for many years a member of the Subtext
Collective in Seattle, and now is part of the POG reading series in
Tucson. She is currently developing a new a
poetry-in-the-schools program for K-5 schools, through the Poetry
Center at the University of
Arizona.<br>
<br>
jared hayes lives in portland, oregon. he is publisher and co-editor of
livestock editions. jared hayes believes in ghosts.&nbsp;his&nbsp;poetry can be
found. <br>
<br>
=============================================<br>
<br>
<br>
<i><b>from</b></i><b> Radiolarian Atlas</b><br>
<br>
<br>
<i>Petalospyris arachnoides<br>
<br>
</i>Descending claw<br>
spider thrift<br>
Ten-legged trope<br>
with triceratops leanings<br>
<br>
Inside your yellow-chambered<br>
soir&eacute;e is a bouncing<br>
reverie of a ballroom<br>
O hidden balustrade,<br>
from whose aquamarine invitation<br>
was this divine gathering sung?<br>
<br>
<br>
<b>Laynie Browne<br>
</b><br>
<br>
<br>
<div><b><span class="Apple-style-span" style="font-style: italic;">from
</span>night after night</b></div>
<div><br>
<br>
mesostic transpsych(ot)ic iteration<br>
</div>
<div><br>
</div>
<span class="Apple-style-span" style="line-height: 18px;"><span
 class="Apple-style-span" style="font-family: 'times new roman',serif;">this
is the best leJos to do things. this is the very best ecerrAda to do
things. this is the very best sIempre to do things exactly poeMa
transparEncia now and excluSiva is the night acercAdo doing the night
dEstino and this is the night illumiNan doing the night veZ at the
night caJa and these are the night brAzos at the night imagIna and this
is the night Mascara doing the night Escribe at the night Seno in the
night rosAs and these are the night tormEnta doing the night muNdo to
the night quiZa at the night refleJaba and these are the estrellA that
are exactly night and these exactly night habIta are doing their Muerte
which is night and carnE is the night poSa to oscuridAd at the night
gravE which is night now and night now cuerNos is exactly night night
now where atroZ is.<br>
<br>
<b>Jared Hayes</b></span></span></div>
</div>
</div>
</body>
</html>

--------------050108090809070607060603--

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from Martha Gies:

Reading and booksigning
by John Gibler

for his new book,
Mexico Unconquered: Chronicles of Power and Revolt
(published by City Lights: 
http://www.citylights.com/book/?GCOI=87286100093700)

Friday, February 6
7:30 pm

Powell's City of Books
1005 W. Burnside

http://www.powells.com/biblio?isbn=9780872864931


/Gibler shares the voices, stories, and communal dignity of the ordinary 
Mexicans who are putting their lives at risk by challenging corrupt 
power as they build social movements for basic rights, justice, and 
autonomy./
 -- Howard Zinn
 
John Gibler will be at Powell's Burnside on Friday night, February 6, 
reading from his important new book, Mexico Unconquered:  Chronicles of 
Power and Revolt.  Just released from City Lights, Mexico Unconquered 
draws on Gibler's years of work in Mexico as journalist and activist, 
and especially his reports from Oaxaca, Chiapas, and Guerrero, areas 
devastated by the impact of forced labor migration and violence related 
to drug trafficking, and simmering with social rebellion.

--------------090306060303000703060704
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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
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from Martha Gies:<br>
<br>
Reading and booksigning<br>
by John Gibler<br>
<br>
for his new book,<br>
Mexico Unconquered: Chronicles of Power and Revolt<br>
(published by City Lights:
<a class="moz-txt-link-freetext" href="http://www.citylights.com/book/?GCOI=87286100093700">http://www.citylights.com/book/?GCOI=87286100093700</a>)<br>
<br>
Friday, February 6<br>
7:30 pm<br>
<br>
Powell's City of Books<br>
1005 W. Burnside<br>
<br>
<a class="moz-txt-link-freetext" href="http://www.powells.com/biblio?isbn=9780872864931">http://www.powells.com/biblio?isbn=9780872864931</a><br>
<br>
<br>
<i>Gibler shares the voices, stories, and communal dignity of the
ordinary Mexicans who are putting their lives at risk by challenging
corrupt power as they build social movements for basic rights, justice,
and autonomy.</i><br>
&nbsp;-- Howard Zinn<br>
&nbsp;<br>
John Gibler will be at Powell's Burnside on Friday night, February 6,
reading from his important new book, Mexico Unconquered:&nbsp; Chronicles of
Power and Revolt.&nbsp; Just released from City Lights, Mexico Unconquered
draws on Gibler's years of work in Mexico as journalist and activist,
and especially his reports from Oaxaca, Chiapas, and Guerrero, areas
devastated by the impact of forced labor migration and violence related
to drug trafficking, and simmering with social rebellion.<br>
</body>
</html>

--------------090306060303000703060704--

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Spare Room presents

*Andrew Joron
Andrew Zawacki

*(reading from their own work, and presenting the Collected Poems of 
Gustaf Sobin, which they edited, now out from Talisman House)

Sunday, February 8
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming Readings

March 8: Michael Cross & Emily Kendal Frey
April 5: John Tipton, Brandon Shimoda, & Beth Murray
May 10: Beverly Dahlen & David Abel

=============================================

*Andrew Joron* has been called "the metaphysician-elect of contemporary 
American poetry" (Cal Bedient, Boston Review). Joron's latest poetry 
collection is /The Sound Mirror/, published by Flood Editions. After a 
decade and a half spent writing science-fiction poetry, culminating in 
the volume /Science Fiction/ (Pantograph Press, 1992), Joron began to 
elaborate other forms of lyric speculation. This work has been collected 
in /The Removes/ (Hard Press, 1999) and in /Fathom/ (Black Square 
Editions, 2003). /The Cry at Zero/, a selection of his prose poems and 
critical essays, was published by Counterpath Press in 2007. Joron is 
also the translator, from the German, of the Marxist-Utopian philosopher 
Ernst Bloch's Literary Essays (Stanford University Press, 1998). He 
lives in Berkeley, where he works as a part-time proofreader and indexer.

*Andrew Zawacki* is the author of three books of poetry -- /Petals of 
Zero Petals of One/ (Talisman House), /Anabranch/ (Wesleyan), and /By 
Reason of Breakings/ (Georgia). Coeditor of /Verse/ and of /The Verse 
Book of Interviews/, he has published criticism in the /TLS, Boston 
Review, Talisman, How2, New German Critique, Australian Book Review/, 
and elsewhere in the US, Europe, and Australia. A former fellow of the 
Slovenian Writers' Association, he edited /Afterwards: Slovenian Writing 
1945-1995/ (White Pine) and edited and cotranslated Ales( Debeljak's new 
and selected poems, due next fall from Persea. His translation from the 
French of Sébastien Smirou, /My Lorenzo/, is forthcoming from Burning 
Deck. He teaches at the University of Georgia.

=============================================


*THE MIRROR SOUND*

Penned /A
Cage/ confined
To page --

Lit, upon unlit lot, the
Letter
          O

 -- wrong sun, rung reason of
   
         One, that avatar of two. To
         One, who won't won't want --

         Here
O is I's
   
         avowal, a dead deed.
A gain to negate no gate.

So just my jest, my
Vote to /mon oeuvre:/
   
         vroom over room & verity, the

Straight arriving
         late to
Strayed, a raid upon the rayed.

*Andrew Joron



*
*Wherefrom the shadows that are forms*

Escorting the immediate ornament of dream
     it lingered past the absence it invoked
like a thunderstorm, decisive in its indifference,
     that over a folded, unfamiliar premise
recast the decadent frieze allure had let go:
     sharpening of caution along a branch,
expansion into dark, elaborate fields
     where, because it had not yet inquired,
trees resisted wind that sounded of nothing,
     no place, nobody known,
already other than why it was setting out:
     closing in of clouds, forgotten forms,
dusk erotic blue at the river's inflection
     as if, by encountering its design,
an end was reached before the terms were met:
     across the outer suspicions of grass
teased by a wrapped, a razor moon
     heavier for its weight against a hill,
it stayed above an interior lit from within
     at the edge of sight: where we,
because we lived there, were never at home.

*Andrew Zawacki*


--------------060708050901040205020202
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Spare Room presents<br>
<br>
<b>Andrew Joron<br>
Andrew Zawacki<br>
<br>
</b>(reading from their own work, and presenting the Collected Poems of
Gustaf Sobin, which they edited, now out from Talisman House)<br>
<br>
Sunday, February 8<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming Readings<br>
<br>
March 8: Michael Cross &amp; Emily Kendal Frey<br>
April 5: John Tipton, Brandon Shimoda, &amp; Beth Murray<br>
May 10: Beverly Dahlen &amp; David Abel<br>
<br>
=============================================<br>
<br>
<b>Andrew Joron</b> has been called &#8220;the metaphysician-elect of
contemporary
American poetry&#8221; (Cal Bedient, Boston Review). Joron&#8217;s latest poetry
collection is <i>The Sound Mirror</i>, published by Flood Editions.
After a decade and a half spent writing science-fiction poetry,
culminating in the volume <i>Science Fiction</i> (Pantograph Press,
1992), Joron began to elaborate other forms of lyric speculation. This
work has been collected in <i>The Removes</i> (Hard Press, 1999) and
in <i>Fathom</i> (Black Square Editions, 2003). <i>The Cry at Zero</i>,
a selection of his prose poems and critical essays, was published by
Counterpath Press in 2007. Joron is also the translator, from the
German, of the Marxist-Utopian philosopher Ernst Bloch&#8217;s Literary
Essays (Stanford University Press, 1998). He lives in Berkeley, where
he works as a part-time proofreader and indexer.<br>
<br>
<b>Andrew Zawacki</b> is the author of three books of poetry -- <i>Petals
of
Zero
Petals of One</i> (Talisman House), <i>Anabranch</i> (Wesleyan), and <i>By
Reason of
Breakings</i> (Georgia). Coeditor of <i>Verse</i> and of <i>The Verse
Book of
Interviews</i>, he has published criticism in the <i>TLS, Boston
Review, Talisman, How2, New German Critique, Australian Book Review</i>,
and elsewhere in the US, Europe, and Australia. A former fellow of the
Slovenian Writers&#8217; Association, he edited <i>Afterwards: Slovenian
Writing
1945-1995</i> (White Pine) and edited and cotranslated Ale&#353; Debeljak&#8217;s
new
and selected poems, due next fall from Persea. His translation from
the French of S&eacute;bastien Smirou, <i>My Lorenzo</i>, is forthcoming from
Burning Deck. He teaches at the University of Georgia.<br>
<br>
=============================================<br>
<br>
<br>
<b>THE MIRROR SOUND</b><br>
<br>
Penned <i>A<br>
Cage</i> confined <br>
To page --<br>
<br>
Lit, upon unlit lot, the<br>
Letter<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; O<br>
<br>
&nbsp;-- wrong sun, rung reason of<br>
&nbsp;&nbsp;&nbsp; <br>
&nbsp; &nbsp; &nbsp; &nbsp;&nbsp; One, that avatar of two. To<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; One, who won&#8217;t won&#8217;t want --<br>
<br>
&nbsp; &nbsp; &nbsp;&nbsp; &nbsp; Here <br>
O is I&#8217;s<br>
&nbsp;&nbsp;&nbsp; <br>
&nbsp; &nbsp; &nbsp;&nbsp; &nbsp; avowal, a dead deed.<br>
A gain to negate no gate.<br>
<br>
So just my jest, my<br>
Vote to <i>mon oeuvre:</i><br>
&nbsp;&nbsp;&nbsp; <br>
&nbsp; &nbsp; &nbsp; &nbsp;&nbsp; vroom over room &amp; verity, the<br>
<br>
Straight arriving <br>
&nbsp; &nbsp; &nbsp;&nbsp; &nbsp; late to<br>
Strayed, a raid upon the rayed.<br>
<br>
<b>Andrew Joron<br>
<br>
<br>
<br>
</b><br>
<b>Wherefrom the shadows that are forms</b><br>
<br>
Escorting the immediate ornament of dream <br>
&nbsp;&nbsp;&nbsp;&nbsp; it lingered past the absence it invoked <br>
like a thunderstorm, decisive in its indifference, <br>
&nbsp;&nbsp;&nbsp;&nbsp; that over a folded, unfamiliar premise <br>
recast the decadent frieze allure had let go: <br>
&nbsp;&nbsp;&nbsp;&nbsp; sharpening of caution along a branch, <br>
expansion into dark, elaborate fields <br>
&nbsp;&nbsp;&nbsp;&nbsp; where, because it had not yet inquired, <br>
trees resisted wind that sounded of nothing, <br>
&nbsp;&nbsp;&nbsp;&nbsp; no place, nobody known, <br>
already other than why it was setting out: <br>
&nbsp;&nbsp;&nbsp;&nbsp; closing in of clouds, forgotten forms, <br>
dusk erotic blue at the river&#8217;s inflection <br>
&nbsp;&nbsp;&nbsp;&nbsp; as if, by encountering its design, <br>
an end was reached before the terms were met: <br>
&nbsp;&nbsp;&nbsp;&nbsp; across the outer suspicions of grass <br>
teased by a wrapped, a razor moon <br>
&nbsp;&nbsp;&nbsp;&nbsp; heavier for its weight against a hill, <br>
it stayed above an interior lit from within <br>
&nbsp;&nbsp;&nbsp;&nbsp; at the edge of sight: where we, <br>
because we lived there, were never at home.<br>
<br>
<b>Andrew Zawacki</b><br>
<br>
</body>
</html>

--------------060708050901040205020202--

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Mexico Unconquered: Chronicles of Power and Revolt
(published by City Lights: 
http://www.citylights.com/book/?GCOI=87286100093700)

reading and booksigning

by John Gibler

Friday, February 6
7:30 pm

Powell's City of Books
1005 W. Burnside

http://www.powells.com/biblio?isbn=9780872864931


/Gibler shares the voices, stories, and communal dignity of the ordinary 
Mexicans who are putting their lives at risk by challenging corrupt 
power as they build social movements for basic rights, justice, and 
autonomy./
 -- Howard Zinn
 
John Gibler will be at Powell's Burnside on Friday night, February 6, 
reading from his important new book, /Mexico Unconquered:  Chronicles of 
Power and Revolt/. Just released from City Lights, /Mexico Unconquered/ 
draws on Gibler's years of work in Mexico as journalist and activist, 
and especially his reports from Oaxaca, Chiapas, and Guerrero, areas 
devastated by the impact of forced labor migration and violence related 
to drug trafficking, and simmering with social rebellion.

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<div class="moz-text-html" lang="x-western">
Mexico Unconquered: Chronicles of Power and Revolt<br>
(published by City Lights:
<a class="moz-txt-link-freetext"
 href="http://www.citylights.com/book/?GCOI=87286100093700">http://www.citylights.com/book/?GCOI=87286100093700</a>)<br>
<br>
reading and booksigning<br>
<br>
by John Gibler<br>
<br>
Friday, February 6<br>
7:30 pm<br>
<br>
Powell's City of Books<br>
1005 W. Burnside<br>
<br>
<a class="moz-txt-link-freetext"
 href="http://www.powells.com/biblio?isbn=9780872864931">http://www.powells.com/biblio?isbn=9780872864931</a><br>
<br>
<br>
<i>Gibler shares the voices, stories, and communal dignity of the
ordinary Mexicans who are putting their lives at risk by challenging
corrupt power as they build social movements for basic rights, justice,
and autonomy.</i><br>
&nbsp;-- Howard Zinn<br>
&nbsp;<br>
John Gibler will be at Powell's Burnside on Friday night, February 6,
reading from his important new book, <i>Mexico Unconquered:&nbsp;
Chronicles of
Power and Revolt</i>. Just released from City Lights, <i>Mexico
Unconquered</i>
draws on Gibler's years of work in Mexico as journalist and activist,
and especially his reports from Oaxaca, Chiapas, and Guerrero, areas
devastated by the impact of forced labor migration and violence related
to drug trafficking, and simmering with social rebellion.</div>
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from Jules Boykoff:

Reading and book release:

Alicia Cohen, /Debts & Obligations/ (O Books)
Jules Boykoff, /Hegemonic Love Potion/ (Factory School)

Sunday, February 22
4:00 pm

Powell's on Hawthorne
3723 SE Hawthorne Blvd.

Free admission


*Alicia Cohen* is originally from San Diego, California, but has spent 
her adult life in Portland, Oregon, and Buffalo, New York.  /Debts and 
Obligations/ from O Books is her second collection of poems; her first, 
/Bear/, was published by Handwritten Press in 2000. She has also shown 
work in the visual and performance arts, including a gallery 
installation and "opera" entitled Northwest Inhabitation Log.  She 
earned her Ph.D. in the Poetics Program at SUNY Buffalo and has taught 
at Reed College and Portland State University. Presently she lives in 
Portland, Oregon.

*Jules Boykoff* is the author of /Hegemonic Love Potion/ (Factory 
School, 2009), /The Slow Motion Underneath/ (with Jim Dine, Steidl 
Editions, 2008), and /Once Upon a Neoliberal Rocket Badge/ (Edge Books, 
2006). His political writing includes/ Landscapes of Dissent: Guerrilla 
Poetry & Public Space/ (co-authored with Kaia Sand) (Palm Press, 2008), 
/Beyond Bullets: The Suppression of Dissent in the United States/ (AK 
Press, 2007), and /The Suppression of Dissent: How the State and Mass 
Media Squelch USAmerican Social Movements/ (Routledge, 2006). He teaches 
politics and writing at Pacific University and lives in Portland where 
he curates the Tangent Reading Series with Rodney Koeneke and Kaia Sand.


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from Jules Boykoff:<br>
<br>
Reading and book release:<br>
<br>
Alicia Cohen, <i>Debts &amp; Obligations</i> (O Books)<br>
Jules Boykoff, <i>Hegemonic Love Potion</i> (Factory School)<br>
<br>
Sunday, February 22<br>
4:00 pm<br>
<br>
Powell's on Hawthorne<br>
3723 SE Hawthorne Blvd.<br>
<br>
Free admission<br>
<br>
<br>
<b>Alicia Cohen</b> is originally from San Diego, California,
but has spent her adult life in Portland, Oregon, and Buffalo, New
York.&nbsp;&nbsp;<i>Debts and Obligations</i> from O Books is her
second collection of poems; her first, <i>Bear</i>, was
published by Handwritten Press in 2000. She has also shown work in the
visual and performance arts, including a gallery installation and
"opera" entitled Northwest Inhabitation Log.&nbsp;&nbsp;She earned her Ph.D. in
the Poetics Program at SUNY Buffalo and has taught at Reed College and
Portland State University. Presently she lives in Portland, Oregon.
<br>
<br>
<b>Jules Boykoff</b> is the author of <i>Hegemonic Love
Potion</i> (Factory School, 2009), <i>The Slow Motion
Underneath</i> (with Jim Dine, Steidl Editions, 2008), and
<i>Once Upon a Neoliberal Rocket Badge</i> (Edge Books,
2006). His political writing includes<i> Landscapes of Dissent:
Guerrilla Poetry &amp; Public Space</i>&nbsp;(co-authored with Kaia Sand)
(Palm Press, 2008), <i>Beyond Bullets: The Suppression of Dissent
in the United States</i>&nbsp;(AK Press, 2007), and <i>The
Suppression of Dissent: How the State and Mass Media Squelch
USAmerican Social Movements</i>&nbsp;(Routledge, 2006). He teaches
politics and writing at Pacific University and lives in Portland where
he curates the Tangent Reading Series with Rodney Koeneke and Kaia
Sand.
<br>
<br>
</body>
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--------------030604060806090701030706--

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Tangent presents

Alli Warren, Brandon Brown, & Tom Fisher

Saturday, February 28
7:00 pm

Clinton Corner Cafe
2633 21st Ave.

www.thetangentpress.org/readings.html


ALLI WARREN and BRANDON BROWN, who organize the innovative reading 
series at 21 Grand in Oakland, CA, give their premiere readings in 
Portland for Tangent. They'll be joined by Portland's own TOM FISHER, a 
critical and much-beloved participant in Portland's poetry scene, and 
professor of English at PSU.


ALLI WARREN was born in the 1980s and remains extant. Recent 
publications include No Can Do (Duration Press), and a collaboration 
with Michael Nicoloff entitled Bruised Dick. Alli co-curates The (New) 
Reading Series at 21 Grand, and lives in San Francisco's Mission 
District. Visit her blog, Organ Pleasure, at theingredient.blogspot.com.

BRANDON BROWN is from Kansas City, Missouri. His friends have published 
his poetry in chapbook form including Memoirs Of My Nervous Illness (Cy 
Press), 908 1078 (Transmission Press), Kidnapped (Duration Press), 
Camels! (TAXT), and the forthcoming Wondrous Things I Have Seen (Mitzvah 
Chaps). He co-curates The (New) Reading Series at 21 Grand in Oakland 
and lives in San Francisco. Visit Brandon at HI: brandonbrown.blogspot.com.

TOM FISHER is working on two manuscripts: one on not writing and 
modernism; one on songs, selves and sorceries. He lives in Portland, OR 
and teaches at Portland State University.

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CaroleZoom Studio presents

Anna & Leo Daedalus

March 5 - 30

CaroleZoom Studio
925 NW Lovejoy

First Thursday opening:
March 5, 6:00 - 9:00 pm


ANNA DAEDALUS
60-Watt Fairy Tales

60-Watt Fairy Tales is a suite of photographic digital prints crafted as 
painterly film stills of fairy tales in a modern world. Daedalus's 
carefully composed theatrical tableaux reflect a lifelong love of 
literature, dance and cinema, and hearken back to the seeds of theater 
found in childhood play-acting. Leitmotifs of skewed domesticity and 
gentrified wildlife run throughout a repertoire borrowed from classic 
folktale themes: civil virtues of hearth and home forever beset by 
untamed natural forces.

http://www.annadaedalus.com/


LEO & ANNA DAEDALUS
disposable books

Handmade collaborative artists' books

http://www.disposablebooks.com/


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<div class="moz-text-html" lang="x-western"><font
 face="Times New Roman, Times, serif">CaroleZoom Studio presents<br>
<br>
Anna &amp; Leo Daedalus<br>
<br>
March 5 - 30<br>
<br>
CaroleZoom Studio<br>
925 NW Lovejoy<br>
<br>
First Thursday opening:<br>
March 5, 6:00 - 9:00 pm<br>
<br>
<br>
ANNA DAEDALUS<br>
60-Watt Fairy Tales<br>
<br>
60-Watt Fairy Tales is a suite of photographic digital prints crafted
as painterly film stills of fairy tales in a modern world. Daedalus's
carefully composed theatrical tableaux reflect a lifelong love of
literature, dance and cinema, and hearken back to the seeds of theater
found in childhood play-acting. Leitmotifs of skewed domesticity and
gentrified wildlife run throughout a repertoire borrowed from classic
folktale themes: civil virtues of hearth and home forever beset by
untamed natural forces. <br>
<br>
<a class="moz-txt-link-freetext" href="http://www.annadaedalus.com/">http://www.annadaedalus.com/</a><br>
<br>
<br>
LEO &amp; ANNA DAEDALUS<br>
disposable books<br>
<br>
Handmade collaborative artists' books<br>
<br>
<a class="moz-txt-link-freetext" href="http://www.disposablebooks.com/">http://www.disposablebooks.com/</a><br>
<font class="Apple-style-span"><span class="Apple-style-span"
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Spare Room presents

*Michael Cross
Emily Kendal Frey*

Sunday, March 8
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

*Upcoming Readings*

April 5: John Tipton, Brandon Shimoda, & Beth Murray
May 10: Beverly Dahlen & David Abel
May 17: Andrew Schelling & music by Michael Stirling
June 14: Anne Gorrick & Deborah Woodard

=============================================

*Michael Cross* edited the anthology /Involuntary Vision: after Akira 
Kurosawa's Dreams/ (Avenue B, 2003), a companion piece to the New 
Brutalism reading series he founded in Oakland in 2002. He publishes 
Atticus/Finch Chapbooks (www.atticusfinch.org), co-edits /On: 
Contemporary Practice/ (with Thom Donovan and Kyle Schlesinger), and is 
currently editing a collection of lectures on George Oppen. His book /In 
Felt Treeling/ is just out from Chax Press.

*Emily Kendal Frey* lives in Portland and teaches at Portland Community 
College. Recent work appears or is forthcoming in /Bird Dog, DIAGRAM, 
Fou, Handsome, Mudlark, New York Quarterly, Sink Review, Spinning Jenny/ 
and /Washington Square Review/. Work from /Something Should Happen at 
Night Outside/ (a collaboration with Zachary Schomburg) can be found in 
/Anti-, Diode, Sir! /and/ jubilat/. Collaborations with Sarah Bartlett 
can be found at /Alice Blue /and /Caffeine Destiny/, among others.

=============================================

(beneath the sycamore
drew crystal to the wood
spun iron lungs
affixed
the trees breathe shade
lisp addled haling
open mouth, o wisp

*Michael Cross*


*BLUE*

Latex paint makes walls cleaner and shinier.
People go away on purpose.
"We can make it if we try" becomes a popular phrase.
I know I'm not a nice person.

*Emily Kendal Frey*



--------------060707050103050805020609
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<div class="moz-text-html" lang="x-western">
Spare Room presents<br>
<br>
<b>Michael Cross<br>
Emily Kendal Frey</b><br>
<br>
Sunday, March 8<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
<b>Upcoming Readings</b><br>
<br>
April 5: John Tipton, Brandon Shimoda, &amp; Beth Murray<br>
May 10: Beverly Dahlen &amp; David Abel<br>
May 17: Andrew Schelling &amp; music by Michael Stirling<br>
June 14: Anne Gorrick &amp; Deborah Woodard<br>
<br>
=============================================<br>
<br>
<b>Michael Cross</b> edited the anthology <i>Involuntary Vision: after
Akira Kurosawa's Dreams</i> (Avenue B, 2003), a companion piece to the
New Brutalism reading series he founded in Oakland in 2002. He
publishes Atticus/Finch Chapbooks (<a class="moz-txt-link-abbreviated" href="http://www.atticusfinch.org">www.atticusfinch.org</a>), co-edits <i>On:
Contemporary Practice</i> (with Thom Donovan and Kyle Schlesinger), and
is currently editing a collection of lectures on George Oppen. His book
<i>In Felt Treeling</i> is just out from Chax Press. <br>
<br>
<b>Emily Kendal Frey</b> lives in Portland and teaches at Portland
Community
College. Recent work appears or is forthcoming in <i>Bird Dog,
DIAGRAM,
Fou, Handsome, Mudlark, New York Quarterly, Sink Review, Spinning Jenny</i>
and <i>Washington Square Review</i>. Work from <i>Something Should
Happen at
Night Outside</i> (a collaboration with Zachary Schomburg) can be found
in
<i>Anti-, Diode, Sir! </i>and<i> jubilat</i>. Collaborations with
Sarah Bartlett can
be found at <i>Alice Blue </i>and <i>Caffeine Destiny</i>, among
others.<br>
<br>
=============================================<br>
<br>
(beneath the sycamore<br>
drew crystal to the wood<br>
spun iron lungs<br>
affixed<br>
the trees breathe shade<br>
lisp addled haling<br>
open mouth, o wisp<br>
<br>
<b>Michael Cross</b><br>
<br>
<br>
<b>BLUE</b><br>
<br>
Latex paint makes walls cleaner and shinier.<br>
People go away on purpose.<br>
&#8220;We can make it if we try&#8221; becomes a popular phrase.<br>
I know I&#8217;m not a nice person.<br>
<br>
<b>Emily Kendal Frey</b><br>
<br>
<br>
</div>
</body>
</html>

--------------060707050103050805020609--

From passages@rdrop.com Tue Mar  3 10:59:17 2009
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from Alissa Nielsen:


Ellen Bass & Alissa Nielsen

Monday, March 16th
7:00 PM

Pacific University
Taylor Auditorium
2043 College Way, Forest Grove


Ellen Bass's fourth book of poems, The Human Line, was published by 
Copper Canyon Press in June 2007. She co-edited (with Florence Howe) No 
More Masks! An Anthology of Poems by Women (Doubleday, 1973), and has 
published several previous volumes of poetry, including Mules of Love 
(BOA, 2002). Her non-fiction includes Free Your Mind: The Book for Gay, 
Lesbian and Bisexual Youth (HarperCollins 1996), I Never Told Anyone: 
Writings by Women Survivors of Child Sexual Abuse (HarperCollins, 1983) 
and The Courage to Heal: A Guide for Women Survivors of Child Sexual 
Abuse (Harper Collins 1988). She currently is teaching in the 
low-residency MFA program at Pacific University.

Alissa Nielsen was born in Fargo, North Dakota. She has studied at 
Charles University in Prague and is a graduate of The Evergreen State 
College. Currently, she is working on a collection of short stories for 
her MFA in writing thesis at Pacific University. She is managing editor 
of the literary journal, Silk Road, and her work has appeared in The 
Raven Chronicles, Ellipsis, Bandoppler, and Slightly West. She lives and 
teaches in Oregon.

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On Sunday March 8th Chuck and Larry are having their first anniversary and birthday at the Eagle on 835 N. Lombard starting at 5:30 pm all are welcome



      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;">On Sunday March 8th Chuck and Larry are having their first anniversary and birthday at the Eagle on 835 N. Lombard starting at 5:30 pm all are welcome<br></td></tr></table><br>

      
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From passages@rdrop.com Wed Mar 11 03:23:37 2009
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from Laura McLary:

A reading by Lilian Faschinger

Wednesday, April 8
4:30 p.m.

Buckley Center, Room 310
5000 N. Willamette Blvd.
University of Portland
www.up.edu

Free and open to the public


Austrian writer Lilian Faschinger is a prolific author, poet, and 
translator. Faschinger typically incorporates into her works a rigorous 
critique of Austrian society and customs, as viewed from a woman's 
perspective. She will read from her most recent work.

Faschinger has written three novels, two radio plays, two volumes of 
short stories, a volume of poetry, and completed multiple translations 
from English-speaking authors. Her first novel "Die Neue Scheherazade" 
(The New Scheherazade, 1985) attracted considerable critical 
recognition. Her 2007 novel, "Stadt der Verlierer," (Town Full of 
Losers), written in 2007, won the Friedrich Glauser Prize for best 
(German) crime novel of the year in 2008.

Presented by the University's Foreign Languages Department.

For more information, call professor Laura McLary at 503.943.7264 or 
email mclary@up.edu.

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Spare Room presents

John Tipton
Beth Murray
Brandon Shimoda

Sunday, April 5
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming Readings

May 10: Beverly Dahlen & David Abel
May 17: Andrew Schelling & music by Michael Stirling
June 14: Anne Gorrick & Deborah Woodard
July 12: Farrah Field & Jared White
August 16: Graham Foust & Eric Baus

=============================================

John Tipton was the founder of the Chicago Poetry Project reading series 
in 2001. His first full-length collection, Surfaces, was published by 
Flood Editions in 2004; in 2008 Flood brought out his translation of the 
Ajax of Sophocles.

Beth Murray lives on the island of Alameda with her dog, Laney. Her new 
book, The Island, published by Second Story Books, is an invocation of 
her conversations with the Island and the animals who live there. Her 
other books include The Night's Night from Noemi Press and Hope Eternity 
Seen on the Hip of a Rabbit from a+ bend. She works as homeopath for 
both people and animals, including those at the Oakland Zoo. In her 
practice she finds poetry.

Brandon Shimoda was born in North America. Texts and images chronicling 
the intervening years can be found in The Alps (Flim Forum Press, 2008) 
and The Inland Sea (Tarpaulin Sky Press, 2008), as well as in the pages 
of Boston Review, Denver Quarterly, Fence, jubilat, New American 
Writing, Peaches and Bats, West Wind Review, and elsewhere. He currently 
lives in North America, once again, where he works for Wave Books.

=============================================

uck

the mendicant ants who plot the sidewalk
pattern their errors with shapes of intent

these chains of creatures t terms long
derive the contour of a message misread

as bare grammar mapped to finite frames
they accrue along paths of abstract mistake

ants riddle in the dirt a cipher
that rumors noiseless channels down occult warrens

the Rev Thomas Bayes models bodily decay
on these ants black & ochre tricked

just as hills erupt so we sicken
cells will track then feed on kin

the greens & brown of Tom’s surroundings
remind that joyous accident forms every place

what did this Mandarin of Chance hide
meaning in the I Ching of insects?

there explodes a storm in the atmosphere
at its edge he makes out rain

chaos miraculous like a cloud of starlings
scatters through the rivers of his nerves

clues of order scar this little Earth
Bayes takes as a blemish from Heaven


for CR & JM

John Tipton



XX. (letter)

your noise in the water pains us

sea we sleep and shit in
earth cannot comprehend
the part that subtracts and adds cannot know
Island risen up out of
fire water pushed up
sleeps into earth
who has heard it?
who has heard the material?
small snag to fall back on
who took the water and rose up
your literal
self cannot fathom

the whales swam up the channel
wrote a ninety mile letter through California

people drove to the middle of the state to
look

Beth Murray



from The Alps

Revolution
filled with mythology, architecture
parties, bathing, the Pope
hanging from the window
a happy European


very clean Yes
very clean, we
said
yes you
are very
clean

We came
to wash
the people
in vinegar

People! The war is
The war is

Brandon Shimoda

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--------------090905050603060306060408
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from Jesse Morse:


Smorg presents a reading by

Dan Fisher & Rodney Koeneke

Saturday, April 11
7:30 pm

The Waypost
3120 N. Williams Ave.
Free

Food, beer, wine, and espresso all available at The Waypost. 

http://www.smorgreadingseries.blogspot.com
http://www.thewaypost.com


Dan Fisher lives on the island in the East Bay. An island that has 4 
bridges and a tunnel. He makes poems and some of them have appeared in 
B/ay Poetics, Viz, Work, Cricket Online Review, Lament/, and some other 
places too. He also makes collages under the name Fish Fishtofferson. He 
works for Upward Bound at Mills College in Oakland. He's never been to 
Portland.

Rodney Koeneke is the author of the poetry collections /Musee 
Mechanique/ (BlazeVOX, 2006) and /Rouge State /(Pavement Saw, 2003). A 
new chapbook, /Rules for Drinking Forties/, is just out from Cy Press. 
His poems have been included in /Abraham Lincoln, Jacket, New American 
Writing, ZYZZYVA/, and other publications, and in the anthologies /Bay 
Poetics/ and the Flarf primer due out this fall. He lives in Portland, 
where he curates the Tangent Reading Series with poets Kaia Sand and 
Jules Boykoff. This reading will be the Portland launch for /Rules for 
Drinking Forties/.

<http://www.thewaypost.com>

--------------090905050603060306060408
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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
from Jesse Morse:<br>
<br>
<br>
Smorg presents a reading by<br>
<br>
Dan Fisher &amp; Rodney Koeneke<br>
<br>
Saturday, April 11<br>
7:30 pm<br>
<div class="moz-text-html" lang="x-western"><br>
The Waypost<br>
3120 N. Williams Ave.<br>
Free<br>
<br>
Food, beer, wine, and espresso all available at The Waypost.&nbsp;
<br>
<br>
<a href="http://www.smorgreadingseries.blogspot.com">http://www.smorgreadingseries.blogspot.com</a><br>
<a href="http://www.thewaypost.com">http://www.thewaypost.com</a><br>
<br>
<br>
Dan Fisher lives on <span class="yshortcuts" id="lw_1238105948_0">the
island</span>
in the East Bay. An island that has 4 bridges and a tunnel. He makes
poems and some of them have appeared in B<i>ay Poetics, Viz, Work,
Cricket
Online Review, Lament</i>, and some other places too. He also makes
collages under the name Fish Fishtofferson. He works for <span
 class="yshortcuts" id="lw_1238105948_1">Upward Bound</span> at <span
 class="yshortcuts" id="lw_1238105948_2">Mills College</span> in
Oakland. He's never been to <span class="yshortcuts"
 id="lw_1238105948_3">Portland</span>.<br>
<br>
Rodney Koeneke is the author of the poetry collections <i><span
 class="yshortcuts" id="lw_1238105905_1">Musee Mechanique</span></i>
(BlazeVOX, 2006) and <i>Rouge State </i>(Pavement Saw, 2003). A new
chapbook, <i>Rules for Drinking Forties</i>, is just out from Cy
Press. His poems have been included in <i><span class="yshortcuts"
 id="lw_1238105905_2">Abraham Lincoln</span>, Jacket, <span
 style="border-bottom: 1px dashed rgb(0, 102, 204); cursor: pointer;"
 class="yshortcuts" id="lw_1238105905_3">New American Writing</span>,
ZYZZYVA</i>, and other publications, and in the anthologies <i>Bay
Poetics</i> and the Flarf primer due out this fall. He lives in
Portland, where he curates the Tangent <span class="yshortcuts"
 id="lw_1238105905_4">Reading Series</span> with poets Kaia Sand and <span
 style="border-bottom: 1px dashed rgb(0, 102, 204); cursor: pointer;"
 class="yshortcuts" id="lw_1238105905_5">Jules Boykoff</span>. This
reading will be the Portland launch for <i>Rules for Drinking Forties</i>.<br>
<br>
<a href="http://www.thewaypost.com"></a><br>
</div>
</body>
</html>

--------------090905050603060306060408--

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Parallaxis: Music and Moving Pictures

A live concert of 20th & 21st-century classical music performed by 
fEARnoMUSIC with video and film works by artists from around the world — 
silent-movie style.

Co-curated by fEARnoMUSIC 21st-century ensemble and Anna & Leo Daedalus 
of HELSINQI media studio.


Friday, April 17, 2009
8:00 pm

Colonial Heights Presbyterian Church
2828 SE Stephens Street
(between Hawthorne & Division in the heart of SE Portland)

$20 general, $15 senior, $5 student
Tickets available at the door or online: www.artixpdx.com
More information: www.fearnomusic.org or (503) 490-3170

Concert info at:
http://www.helsinqi.com/parallaxis/ and www.fearnomusic.org

Images for press at:
http://www.helsinqi.com/parallaxis/forpress/

Featuring musicians of fEARnoMusic: Inés Voglar, Joël Belgique, Jeff 
Payne, and Joel Bluestone; with guest artists Paloma Griffin, Nancy 
Ives, and Alicia Didonato Paulsen; performing music by Xenakis, Ligeti, 
Feldman, Saariaho, Kurtág, and other composers.

Greek for "a change," parallaxis gives rise to parallax, denoting the 
apparent change in an object viewed from different positions. Here, the 
positions are metaphorical: music and motion pictures as complementary 
angles. Putting these media on equal footing — like two halves of a 
holographic plate — frees them from habits of accompaniment or 
illustration. Each changes the other, generating syntheses more 
unexpected than the sum of their parts.

Contact: Inés Voglar at inesvoglar@gmail.com



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Show & Tell Productions presents Three Friends Mondays:

Marko Whens, Tony Christy, Leo Daedalus, and David Abel

(followed by open mic)


Monday, May 4
7:00 pm

Three Friends Coffee House
201 SE 12th Ave.
503-236-6411


In September of 2008, Marko Whens and Tony Christy organized the first 
Demagnetic Mutant Cabaret, "an evening of humor-based, conceptual, 
nondramatic events informed by traditions such as Dada, Fluxus, and 
Situationism."

Leo Daedalus did John Cage stand-up and Oulipo rap; Tony went on a khaki 
parade; Marko found the other side of the frame; and David Abel made tea 
under surveillance.

At the Three Friends Coffee house open mic on Monday, May 4, they will 
return as the Three Scrapettes, with a variety of non-acts, sound poems, 
peripheral pieces, audience impersonations, and wrong solutions.


Biographical fallacies:

Marko Whens is soon to be published by an oppressed press. He falsely 
proclaims to be the first poet to misspell every language.

As a child, Tony Christy grew gills and drowned. His father was a scrap 
surgeon his mother a mitt mender. Upon graduation from the institute of 
technical friction he took a position with the broke bureau.

Leo Daedalus has experienced spatial-sequence, or number form, 
synesthesia since his leftmost days. Fittingly, he imagines that the 
ideal expression of any particular art form would have to be realized in 
a different form.

David Abel studied with Massenet and Fauré at the Paris Conservatoire 
(1890-97), then lived uneventfully as a teacher and theorist, producing 
an enormous body of music expressing his communist sympathies. Very 
little of his work, however, escaped neglect.



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The inaugural reading of

If Not For Kidnap Poetry

presents

Kjirsten Severson
Karen Wood Heppner

Tuesday, April 28
7:30pm

3968 SE Mall St., Apt A

Come as you are, donations not turned down!

& check out full bios and other info at 
http://ifnotforkidnappoetry.blogspot.com


***

Trained in Western philosophy and determined to say the impossible by 
escaping academic language, Kjirsten Severson was not prepared for her 
own writing that began to appear when she moved to Portland from 
Pittsburgh at the end of 2003. Any readily recognized narrative became 
invisible. . . .

*

Karen Wood Hepner writes in the mood of a house haunted -- she creates 
landscapes inside rooms, hallways, cupboards, and under beds. Karen is 
fascinated by the movement between inner and outer landscapes, and 
writes poems that navigate these planes freely. . . .


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University of Oregon School of Journalism and Communication (SOJC)
will offer the workshop

"Writing About Music"


Saturday, May 9
1:00 - 4:00 pm

George S. Turnbull Center
University of Oregon Portland
70 NW Couch Street


Registration $45; $15 for students.
For online registration: http://turnbullcenter.uoregon.edu/
For more information, contact Al Stavitsky, Turnbull Center director, at 
503-412-3659, or: ags@uoregon.edu


“Writing About Music” will feature presentations by SOJC Professor Tom 
Wheeler, a former editor of Guitar Player magazine; Luciana Lopez, pop 
music writer for The Oregonian; Brett Campbell, Wall Street Journal 
music critic and contributor to Willamette Week; and Carrie Brownstein, 
a musician and writer who co-founded the critically acclaimed band 
Sleater-Kinney.

Speakers will discuss “engaged listening,” which involves identifying 
time signatures, instrumentation, arrangement and song structure; how to 
write artist profiles; and how to get your work published in the current 
multiplatform marketplace. The workshop will conclude with a panel 
discussion of the state of music writing.


About the presenters:

In addition to her musical career with Sleater Kinney and other bands, 
Carrie Brownstein is a writer and commentator on music and culture for 
National Public Radio. Her work has also been published in The New York 
Times, Pitchfork and other outlets.

Brett Campbell writes about the arts for The Wall Street Journal, 
Willamette Week, Oregon Quarterly and other publications. A former 
editor of Oregon Quarterly and the Texas Observer, he taught magazine 
writing at the SOJC for nine years. He’s at work on a biography of 
Portland-born composer Lou Harrison.

Luciana Lopez has been the pop music critic for The Oregonian for two 
and a half years, covering everything from rock to rumba. She’s 
freelanced for publications including The Washington Post, Urb, XLR8r 
and others.

Tom Wheeler has been a member of the School of Journalism and 
Communication faculty since 1991. In addition to serving as editor of 
Guitar Player, he was founding editorial director of Bass Player 
magazine and freelanced for Rolling Stone. He is the author of four 
books about guitars, and plays guitar regularly with Eugene soul singer 
Deb Cleveland.




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Spare Room presents

Beverly Dahlen
David Abel

Sunday, May 10
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming Readings

May 17: Andrew Schelling & music by Michael Stirling

June 4: Jim McCrary & James Yeary
June 14: Anne Gorrick & Deborah Woodard

July tba: Jennifer Bartlett & Sarah Mangold
July 12: Farrah Field & Jared White

August tba: Norma Cole & Lindsay Hill
August 16: Graham Foust & Eric Baus

=============================================

Beverly Dahlen was born in Portland in November, 1934, attended public 
schools there, and after the end of World War II, moved with her family 
to Eureka, California. In 1956, she resettled in San Francisco. Her 
first collection of poetry, Out of the Third, was published by Momo’s 
Press in 1974. Two chapbooks, A Letter at Easter (Effie’s Press) and The 
Egyptian Poems (Hipparchia Press) were followed in 1985 by the 
publication of A Reading 1-7 (Momo’s Press). Since then, three more 
volumes of A Reading have appeared, as well as the chapbook A-reading 
Spicer & Eighteen Sonnets (Chax Press). Her essay “Beauty: Another 
Reading” recently appeared in Crayon 5. Ms. Dahlen was a co-founder, 
with Kathleen Fraser and Frances Jaffer, of the feminist poetics 
newsletter (HOW)ever; in December of 2008 her work was honored by Small 
Press Traffic with their Lifetime Achievement Award.

David Abel was born in Salt Lake City in November, 1956, and schooled 
there and in South Florida, Eastern California, the Mid-Hudson Valley, 
and the Rio Grande Valley. After tenures in New York City and 
Albuquerque (where he established the Bridge Bookshop, and Passages 
Bookshop & Gallery, respectively), he relocated to Portland in 1997. He 
is the author of numerous artists's books and objects -- including Rose, 
Selected Durations, and Threnos (with Katherine Kuehn), and Let Us 
Repair and While You Were In (with Anna & Leo Daedalus) -- and several 
chapbooks, including Black Valentine (Chax) and Twenty- (Crane's Bill). 
His most recent chapbook, Commonly, will premiere at this reading, along 
with two new issues (one for each reader) of the broadside journal 
Envelope, which he edits.

=============================================


Thoughtless as shadow
The ground of shadow
One wouldn't would
One want

All one wants
And then what
The light across the lake
And the eye creates space
The distance
Which is not
One

Not only
That but
All one
Wants

-- Beverly Dahlen



(from Sweep)

1357

A snapshot -- a freeze frame -- a thread (or is it a needle?) drawn 
through the entire world: every person, anywhere (let's say), entering a 
building at this moment.

They are (they were) an army, a religion, a dance, an analysis, a race, 
and an extinction.

-- David Abel

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For Immediate Release -- please forward as appropriate

Portland-born poet Beverly Dahlen returns to give first reading in her 
hometown

WHEN: Sunday, May 10, 2009, 7:30 pm

WHERE: Spare Room Reading Series (www.flim.com/spareroom)
Concordia Coffee House, 2909 NE Alberta Street, Portland OR 97211

HOW MUCH: $5.00 suggested donation; no one turned away


The Spare Room reading series presents Beverly Dahlen, in her first 
appearance in her native Portland, reading with Portland resident and 
Spare Room organizer David Abel.

"Yes, it's true that I haven't given a reading as an adult in my 
hometown, the place where I learned to read and where as a child I wrote 
my first poem. That poem was published in the school newspaper (James 
John School), and later I wrote a brief history of St. Johns which was 
published in the local St. Johns Review."

Reader's bios below.

For more information, contact:
David Abel, 503-233-4562, passages@rdrop.com


Beverly Dahlen was born in Portland in November, 1934, attended public 
schools there, and after the end of World War II, moved with her family 
to Eureka, California. In 1956, she resettled in San Francisco. Her 
first collection of poetry, Out of the Third, was published by Momo’s 
Press in 1974. Two chapbooks, A Letter at Easter (Effie’s Press) and The 
Egyptian Poems (Hipparchia Press) were followed in 1985 by the 
publication of A Reading 1-7 (Momo’s Press). Since then, three more 
volumes of A Reading have appeared, as well as the chapbook A-reading 
Spicer & Eighteen Sonnets (Chax Press). Her essay “Beauty: Another 
Reading” recently appeared in Crayon 5. Ms. Dahlen was a cofounder, with 
Kathleen Fraser and Frances Jaffer, of the feminist poetics newsletter 
(HOW)ever; in December of 2008 her work was honored by Small Press 
Traffic with their Lifetime Achievement Award.

David Abel was born in Salt Lake City in November, 1956, and schooled 
there and in South Florida, Eastern California, the Mid-Hudson Valley, 
and the Rio Grande Valley. After tenures in New York City and 
Albuquerque (where he established the Bridge Bookshop, and Passages 
Bookshop & Gallery, respectively), he relocated to Portland in 1997. A 
founding organizer of the Spare Room reading series, he is the author of 
numerous artists's books and objects -- including Rose, Selected 
Durations, and Threnos (with Katherine Kuehn), and Let Us Repair and 
While You Were In (with Anna & Leo Daedalus) -- and several chapbooks, 
including Black Valentine (Chax) and Twenty- (Crane's Bill). His most 
recent chapbook, Commonly, will premiere at this reading, along with two 
new issues (one for each reader) of the broadside journal Envelope, 
which he edits.


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(NOTE: There will be plenty of time to get to this great show after the 
Spare Room reading at TLC earlier in the evening!)


Solo performances by three local composers

Doug Theriault
Scott Goodwin
Adam Reese (summer tour kickoff & CDr release)

Sunday May 17th
10:00 pm

Worksound
820 SE Alder
http://worksoundpdx.com/

Free admission


Doug Theriault's work is concerned with the development of live 
electronic music systems on custom-made instruments of his own design. 
To that end, he established Buzz-R Electronics, whose goal is "to make 
it easy for artists to get their hands on exotic soundmaking devices" -- 
www.buzz-r-electronics.com.

Scott Goodwin is a composer, improviser, and "sound worker" particularly 
fascinated by sinusoidal waveforms and psychoacoustic phenomena. Goodwin 
also plays in the electronic improv group Bonus, and last year released 
the album "Off Light" on Root Strata. Lately, he has been reconciling 
his adolescent love of techno with his more recent investigations in the 
tradition of American Minimalism, concurrently with building an analog 
synthesizer from scratch.

Adam Reese is an improvisor based out of Portland and LA who works both 
with prerecorded sounds and with instruments. This performance will be 
composed of a live mixing set, incorporating sounds from a variety of 
sources.


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from Michael Cross:

 
Rob Halpern, author of /Rumored Place/ (Krupskaya) and co-author of 
/Snow Sensitive Skin (/Atticus/Finch), is touring the Pacific Northwest 
this coming week in celebration of his newest book of poetry, /Disaster 
Suites/ (Palm Press). Those familiar with Halpern and his work 
know these events are /not to be missed/.

To sweeten the deal, I've produced a limited edition broadside 
of Halpern's poem "Some Speculations Around George Oppen's 
Parousia" free to attendees of the Seattle events. I hope you'll have an 
opportunity to attend one of the following.
 

Wednesday, May 27
8:00 pm

Evergreen State College Library
2700 Evergreen Parkway NW
Olympia, Washington

-----

Thursday, May 28
6:00 pm

Henry Art Gallery Cafe, Univ. of Washington
4100 15th Ave. N.
Seattle, Washington

-----
 
Saturday, May 30
5:00 pm

Crawl Space
504 E. Denny Way #1 (Entrance on Summit Ave E)
<http://maps.google.com/maps?f=q&source=s_q&hl=en&geocode=&q=Henry+Art+Gallery,+Seattle,+WA&vps=1&jsv=159e&sll=37.0625,-95.677068&sspn=34.038806,56.25&ie=UTF8&latlng=47656214,-122311510,8125824423033647840&ei=5EIaStarEJDgiQPT76S-CQ&cd=1&dtab=5>Seattle, 
Washington



<http://windowslive.com/Tutorial/Hotmail/WhatsNew?ocid=TXT_TAGLM_WL_HM_Tutorial_WhatsNew1_052009>

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<div class="moz-text-html" lang="x-western">from Michael Cross:<br>
<br>
&nbsp;<br>
Rob Halpern, author of <em>Rumored Place</em> (Krupskaya) and
co-author of <em>Snow Sensitive Skin (</em>Atticus/Finch),&nbsp;is&nbsp;touring
the Pacific Northwest this coming week in celebration of his newest
book of poetry, <em>Disaster Suites</em> (Palm Press). Those&nbsp;familiar
with&nbsp;Halpern&nbsp;and his work know&nbsp;these events are <em>not to be missed</em>.
<br>
<br>
To&nbsp;sweeten the deal, I've produced a limited edition&nbsp;broadside
of&nbsp;Halpern's poem "Some Speculations&nbsp;Around George Oppen's
Parousia"&nbsp;free to&nbsp;attendees of&nbsp;the Seattle events.&nbsp;I hope you'll have
an opportunity to attend one of the following.<br>
&nbsp;<br>
<br>
Wednesday, May 27<br>
8:00 pm<br>
<br>
Evergreen State College Library<br>
2700 Evergreen Parkway NW<br>
Olympia, Washington<br>
<br>
-----<br>
<br>
Thursday, May 28<br>
6:00 pm <br>
<br>
Henry Art Gallery Cafe, Univ. of Washington<br>
4100 15th Ave. N.<br>
Seattle, Washington<br>
<br>
-----<br>
&nbsp;<br>
Saturday, May 30<br>
5:00 pm<br>
<br>
Crawl Space<br>
504 E. Denny Way #1 (Entrance on Summit Ave E)<br>
<a id="EC_photo_A"
 href="http://maps.google.com/maps?f=q&amp;source=s_q&amp;hl=en&amp;geocode=&amp;q=Henry+Art+Gallery,+Seattle,+WA&amp;vps=1&amp;jsv=159e&amp;sll=37.0625,-95.677068&amp;sspn=34.038806,56.25&amp;ie=UTF8&amp;latlng=47656214,-122311510,8125824423033647840&amp;ei=5EIaStarEJDgiQPT76S-CQ&amp;cd=1&amp;dtab=5"><span
 class="EC_bt EC_noprint"></span></a>Seattle, Washington<br>
<br>
<br>
<br>
<a
 href="http://windowslive.com/Tutorial/Hotmail/WhatsNew?ocid=TXT_TAGLM_WL_HM_Tutorial_WhatsNew1_052009"
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/(please note that this is a *Thursday*, not our usual Sunday)/


Spare Room presents

Jim McCrary
James Yeary

*Thursday, June 4*
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming Readings

June 14: Anne Gorrick & Deborah Woodard

July tba: Jennifer Bartlett & Sarah Mangold
July 12: Farrah Field & Jared White

August 6: Norma Cole & Lindsay Hill
August 16: Graham Foust & Eric Baus

=============================================

*Jim McCrary: *Most recent publication /All That/ (ManyPenny Press, 
2008). Chapbooks include /Being Frida Kahlo, My Book, Hotter Than and 
Now, Holbox, Dive, She Said /and/ Mayaland/.  Has had the pleasure to 
enjoy a drink with poets Paul Blackburn, Anne Waldmann, Joanne Kyger, 
Maryrose Larkin, Judith Roitman, Monica Peck, Steve Tills, William S. 
Burroughs, Ed Dorn and most recently Robert Baumann and Anne Boyer . . . 
wished it would have been all at same time! Recent poems in Lawrence 
issue of Locus Point Mag online, edited by Joe Harrington. He and wife 
Sue Ashline live in Lawrence, Ks.

*James Yeary* occasionally poses as visual artist Nate Orton, with whom 
he has printed the books /my night at chopsticks/, /my day at the 
library/, and /my day walking across portland vol. 1: E 247th, Gresham 
to E 41st/.  The my day series synthesize and disavow constraint, 
procedure, and nonce writing, vying to use the text of the city itself 
to illustrate the subaltern ego in all of us.  He has worked in print 
and radio journalism and holds a Bachelor's in General Studies from the 
University of Idaho.

=============================================


*BEING LED ASTRAY---EKBALAM, YUCATAN*

Precise is a way of moving
and in a place like this
an advantage.

So one should very well
think before.

What one misses while considering
what one finds overwhelming.

Certainly one hears where to look.

To contemplate the advantage
of movement over an obstacle.

As instance
one who has gone to the top.

How could that *be*?    And why?

What  were   they thinking?

Would we have done something different.

Then again perhaps there is something
in the word pyramid.


*Jim McCrary*
from /Mayaland/



//

Marx is Back

"That's what I like to hear

pneumatic drill attempts to displace

the song stuck in my head

("our old flag was better")

This dance the flow of the gutter's puddle

to the drilling

"That sums up my feelings

to all modern architecture"


Trying to decide if a corner's important

Flapping tire mix't in w/ the recall

Feeling like dirt in an Ed Ruscha

Like the god of parking lots


*James Yeary*
from /Tabor to the Zoo/




--------------090506050704030008080100
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<i>(please note that this is a <b>Thursday</b>, not our usual Sunday)</i><br>
<br>
<br>
Spare Room presents<br>
<br>
Jim McCrary<br>
James Yeary<br>
<br>
<b>Thursday, June 4</b><br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming Readings<br>
<br>
June 14: Anne Gorrick &amp; Deborah Woodard<br>
<br>
July tba: Jennifer Bartlett &amp; Sarah Mangold<br>
July 12: Farrah Field &amp; Jared White<br>
<br>
August 6: Norma Cole &amp; Lindsay Hill<br>
August 16: Graham Foust &amp; Eric Baus<br>
<br>
=============================================<br>
<br>
<b>Jim McCrary: </b>Most recent publication <i>All That</i>
(ManyPenny Press, 2008). Chapbooks include <i>Being Frida Kahlo, My
Book, Hotter Than and Now, Holbox, Dive, She Said </i>and<i> Mayaland</i>.&nbsp;
Has had the pleasure to enjoy a drink with poets Paul Blackburn, Anne
Waldmann, Joanne Kyger, Maryrose Larkin, Judith Roitman, Monica Peck,
Steve Tills, William S. Burroughs, Ed Dorn and most recently Robert
Baumann and Anne Boyer . . . wished it would have been all at same
time! Recent poems in Lawrence issue of Locus Point Mag online, edited
by Joe Harrington. He and wife Sue Ashline live in Lawrence, Ks.<br>
<br>
<b>James Yeary</b> occasionally poses as visual artist Nate Orton, with
whom he has printed the books <i>my night at chopsticks</i>, <i>my
day at the library</i>, and <i>my day walking across portland vol. 1:
E 247th, Gresham to E 41st</i>.&nbsp; The my day series synthesize and
disavow constraint, procedure, and nonce writing, vying to use the text
of the city itself to illustrate the subaltern ego in all of us.&nbsp; He
has worked in print and radio journalism and holds a Bachelor's in
General Studies from the University of Idaho.<br>
<br>
=============================================<br>
<br>
<br>
<b>BEING LED ASTRAY&#8212;EKBALAM, YUCATAN</b><br>
<br>
Precise is a way of moving<br>
and in a place like this<br>
an advantage.<br>
<br>
So one should very well<br>
think before.<br>
<br>
What one misses while considering<br>
what one finds overwhelming.<br>
<br>
Certainly one hears where to look.<br>
<br>
To contemplate the advantage<br>
of movement over an obstacle.<br>
<br>
As instance<br>
one who has gone to the top.<br>
<br>
How could that <b>be</b>?&nbsp;&nbsp;&nbsp; And why?<br>
<br>
What&nbsp; were&nbsp;&nbsp; they thinking?<br>
<br>
Would we have done something different.<br>
<br>
Then again perhaps there is something<br>
in the word pyramid. <br>
<br>
<br>
<b>Jim McCrary</b><br>
from <i>Mayaland</i><br>
<br>
<br>
<br>
<i></i><br>
<br>
Marx is Back <br>
<br>
&#8220;That&#8217;s what I like to hear<br>
<br>
pneumatic drill attempts to displace<br>
<br>
the song stuck in my head<br>
<br>
(&#8220;our old flag was better&#8221;)<br>
<br>
This dance the flow of the gutter&#8217;s puddle<br>
<br>
to the drilling<br>
<br>
&#8220;That sums up my feelings<br>
<br>
to all modern architecture&#8221; <br>
<br>
<br>
Trying to decide if a corner&#8217;s important<br>
<br>
Flapping tire mix&#8217;t in w/ the recall<br>
<br>
Feeling like dirt in an Ed Ruscha<br>
<br>
Like the god of parking lots <br>
<br>
<br>
<b>James Yeary</b><br>
from <i>Tabor to the Zoo</i><br>
<br>
<br>
<br>
</body>
</html>

--------------090506050704030008080100--

From passages@rdrop.com Wed May 27 15:33:30 2009
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Writer and technologist Phil Billitz (phil@tqtllc.com) is interested in 
how Portland area writers are using the internet to support their 
writing careers:

"How are you building your platform, using social networking, are you 
writing content for the web or would you want to?"
 
He has created a survey, to assess writers' interest and needs, toward a 
possible class offering.

Interested parties can find the survey here: *http://tinyurl.com/qelbza*

* <mailto:phil@4qtllc.com>*

 

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<br>
Writer and technologist Phil Billitz (<a class="moz-txt-link-abbreviated" href="mailto:phil@tqtllc.com">phil@tqtllc.com</a>) is interested
in how Portland area writers are using the internet to support their
writing
careers: <br>
<br>
"How are you building your platform, using social networking,
are you writing content for the web or would you want to?"<br>
&nbsp;<br>
He has created a survey, to assess writers' interest and needs, toward
a possible class offering.<br>
<br>
Interested parties can find the survey here:<span
 style="font-size: 9pt;">
</span><b><span
 style="font-size: 9pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"><a
 href="http://tinyurl.com/qelbza">http://tinyurl.com/qelbza</a></span></b>
<p class="MsoNormal"><b><span
 style="font-size: 10pt; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;;"><a
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&nbsp;
<br>
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From passages@rdrop.com Wed May 27 15:54:48 2009
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RAGA CYCLE

Weekend Intensive Workshop in North Indian Classical Vocal Music
with Michael Stirling

July 24–26 (see detailed schedule below)

Yoga Shala
3808 N. Williams (one block north of Fremont)
www.yogashalapdx.com
503-963-9642

Friday 7/24
9:00–10:30 pm
Saturday 7/25
6:30–8:00 am & 3:30–5:00 pm
Sunday 7/26
6:30–8:00 am & 12:00–2:00 pm, plus evening performance, time TBA

Register in advance.
Fee: $108 (12½ hours of instruction)
Drop-in $25 per class

In this weekend intensive workshop students will broaden their 
understanding and awareness of the elements of North Indian classical 
music, raga & tala, by participating in five 2½-hour classes scheduled 
throughout the weekend to take advantage of the raga cycle – the 
relationship between raga and the time of day. Students will sing ragas 
associated with the different times of day, from morning until night. 
The class will be accompanied by tambura, the essential drone 
instrument, and tabla, a set of two small hand drums used in North 
Indian classical music.

For students who have already had some study with the instructor, or 
with instructor’s consent.

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(I've taken a booth at this fair, and will have for sale loads of 
poetry, literature, art, artist's books, and the like, at significantly 
reduced prices for the occasion. Please drop by and browse -- look for 
me in Booth 30, Passages Bookshop -- and please forward this message to 
anyone who might be interested!)


Rose City Used Book Fair

5626 NE Alameda
(The Friendship Masonic Center)
http://www.pauba.org/BookFair2009.htm

Friday, June 12
2:00 - 8:00 pm

Saturday, June 13
10:00 am - 6:00 pm

Free parking across the street and one block north

Admission: $2, or $1 + a can of food for the Oregon Food Bank


28 book dealers from Oregon and Washington
Thousands of used, out-of-print, & rare/collectible books in all subjects
Prints & ephemera
Appraisals & seminars
Door prizes





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Spare Room presents

*Anne Gorrick
Deborah Woodard*

Sunday, June 14
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming Readings

July tba: Jennifer Bartlett & Lindsey Boldt
July 12: Farrah Field & Jared White

August 6: Norma Cole & Lindsay Hill
August 16: Graham Foust & Eric Baus

September 20: Joe Massey & Joel Felix

=============================================

Anne Gorrick's first book, /Kyotologic/, was published in 2008 by 
Shearsman Books (www.shearsman.com).  Collaborating with artist Cynthia 
Winika, she produced a limited edition artist's book, /"Swans, the ice," 
she said,/ with grants through the Women's Studio Workshop in Rosendale, 
NY, and the New York Foundation for the Arts.  She also curates the 
reading series Cadmium Text, which focuses on innovative writing in and 
around the Hudson Valley (www.cadmiumtextseries.blogspot.com).

Deborah Woodard has published three chapbooks of poetry, /The Orphan 
Conducts the Dovehouse Orchestra/ (Bear Star Press, 1999), /The Book of 
Riddles /(Boxcar Press, 1998) and /Hunter Mnemonics/ (hemel press). Her 
first full-length collection, /Plato's Bad Horse/, was published in 
2006, also by Bear Star Press. /The Dragonfly/, her translation of the 
poetry of Amelia Rosselli (in collaboration with Giuseppe Leporace) was 
just published by Chelsea Editions.  She teaches at the Richard Hugo 
House, a community literary center in Seattle.

=============================================

*In March:
         not Celadon or Rain*

/for the Levins/


In the alm mill

                       vellum advances

rhinestone revise

                                   harm

                                   in the method-cell, a meal
                                   bella, mine

Ravel's methanol remarks

                                                pieces of rice

        Ella dressed in rice-lace

                                   marc, ave, vin

                                   marsh to vine

through the name mill
and out its sleeve


*Anne Gorrick



from Hunter Mnemonics

*1*

*When I was little, I didn't understand why wax paper rustling in some 
corner
made me fix upon the town like a glint of water or the muffled barking 
of a dog.
It was quiet here, a silence blunt and practical that tied its laces. 
And Al's
was no name but a joke the trapper painted across the cover of the well.
I found tin cans and a pair of antlers that almost brought back the tang 
of your shot,
the monotony of its tuft of smoke. When we got in the clear, we'd reach 
the cabin.
I imagined red plaid beckoning us forward, milkweed's limbs akimbo.
But I didn't understand why Jerusalem was just a few miles up the road,
or why the town was weaker than its well. So I drew down a flap of the 
grey sky.
Behind barred windows hunters rested quietly, made for themselves
a different stillness: the woods could never close over these few. I 
strained
my likeness from them---peeling wax paper from a corner pocked with 
leaves---
the way I strained to protect Jerusalem as I thought through the town.
When I was little, I didn't understand and stood like the cabin unlaced 
and cold.
A sheet of wax paper rustled inside the cover of the well. I tied my laces.*

Deborah Woodard
*

--------------020001050607000307070701
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Spare Room presents<br>
<br>
<b>Anne Gorrick<br>
Deborah Woodard</b><br>
<br>
Sunday, June 14<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming Readings<br>
<br>
July tba: Jennifer Bartlett &amp; Lindsey Boldt<br>
July 12: Farrah Field &amp; Jared White<br>
<br>
August 6: Norma Cole &amp; Lindsay Hill<br>
August 16: Graham Foust &amp; Eric Baus<br>
<br>
September 20: Joe Massey &amp; Joel Felix<br>
<br>
=============================================<br>
<br>
Anne Gorrick&#8217;s first book, <i>Kyotologic</i>, was published in 2008 by
Shearsman Books (<a class="moz-txt-link-abbreviated" href="http://www.shearsman.com">www.shearsman.com</a>).&nbsp; Collaborating with artist Cynthia
Winika, she produced a limited edition artist's book, <i>&#8220;Swans, the
ice,&#8221; she said,</i> with grants through the Women&#8217;s Studio Workshop in
Rosendale, NY, and the New York Foundation for the Arts.&nbsp; She also
curates the reading series Cadmium Text, which focuses on innovative
writing in and around the Hudson Valley
(<a class="moz-txt-link-abbreviated" href="http://www.cadmiumtextseries.blogspot.com">www.cadmiumtextseries.blogspot.com</a>).<br>
<br>
Deborah Woodard has published three chapbooks of poetry, <i>The Orphan
Conducts the Dovehouse Orchestra</i> (Bear Star Press, 1999), <i>The
Book of
Riddles </i>(Boxcar Press, 1998) and <i>Hunter Mnemonics</i> (hemel
press). Her
first full-length collection, <i>Plato&#8217;s Bad Horse</i>, was published
in 2006,
also by Bear Star Press. <i>The Dragonfly</i>, her translation of the
poetry
of Amelia Rosselli (in collaboration with Giuseppe Leporace) was just
published by Chelsea Editions.&nbsp; She teaches at the Richard Hugo House,
a community literary center in Seattle.<br>
<br>
=============================================<br>
<br>
<b>In March: <br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; not Celadon or Rain</b><br>
<br>
<i>for the Levins</i><br>
<br>
<br>
In the alm mill<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; vellum advances<br>
<br>
rhinestone revise<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; harm<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; in the method-cell, a meal<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; bella, mine<br>
<br>
Ravel&#8217;s methanol remarks<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; pieces of rice<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ella dressed in rice-lace<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; marc, ave, vin<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; marsh to vine<br>
<br>
through the name mill<br>
and out its sleeve<br>
<br>
<br>
<b>Anne Gorrick<br>
<br>
<br>
<br>
from Hunter Mnemonics<br>
<br>
</b>1<b><br>
<br>
</b>When I was little, I didn&#8217;t understand why wax paper rustling in
some corner<br>
made me fix upon the town like a glint of water or the muffled barking
of a dog.<br>
It was quiet here, a silence blunt and practical that tied its laces.
And Al&#8217;s<br>
was no name but a joke the trapper painted across the cover of the well.<br>
I found tin cans and a pair of antlers that almost brought back the
tang of your shot,<br>
the monotony of its tuft of smoke. When we got in the clear, we&#8217;d reach
the cabin.<br>
I imagined red plaid beckoning us forward, milkweed&#8217;s limbs akimbo.<br>
But I didn&#8217;t understand why Jerusalem was just a few miles up the road,<br>
or why the town was weaker than its well. So I drew down a flap of the
grey sky.<br>
Behind barred windows hunters rested quietly, made for themselves<br>
a different stillness: the woods could never close over these few. I
strained<br>
my likeness from them&#8212;peeling wax paper from a corner pocked with
leaves&#8212;<br>
the way I strained to protect Jerusalem as I thought through the town.<br>
When I was little, I didn&#8217;t understand and stood like the cabin unlaced
and cold.<br>
A sheet of wax paper rustled inside the cover of the well. I tied my
laces.<b><br>
<br>
Deborah Woodard<br>
</b>
</body>
</html>

--------------020001050607000307070701--

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from Rodney Koeneke:

Tangent presents

SATURDAY, JUNE 27 at 7 PM

STEPHANIE YOUNG, DANA WARD & CYNTHIA SAILERS

Clinton Corner Cafe, 2633 SE 21st Ave. (@ Clinton)
www.thetangentpress.org/readings.html

Tangent is pleased to host three exciting recent voices in poetry. 
Stephanie Young's second book, Picture Palace, is just out with Joshua 
Clover's new press, and her web project, Deep Oakland, explores the 
frontiers of text, history, art, and place. Bay Area poet, therapist, 
and cineaste Cynthia Sailers will be launching her new Cy Press 
chapbook, Ladies of Leisure, sequel to 2004's Lake Systems. Cy Press 
publisher and lyric wunderkind Dana Ward joins them from Cincinnati, OH 
to read from his own 2009 publications, Roseland and the Drought. Hope 
to see you there.

STEPHANIE YOUNG lives and works in Oakland. Her books of poetry are 
Picture Palace (in girum imus nocte et consumimur igni, 2008) and 
Telling the Future Off (Tougher Disguises, 2005). She edited Bay Poetics 
(Faux Press, 2006) and her most recent editorial project is Deep Oakland 
(www.deepoakland.org).

CYNTHIA SAILERS is the author of the poetry collections Lake Systems 
(Tougher Disguises, 2004) and Rose Lungs (Atticus/Finch, 2004). She is 
writing a dissertation on perversion and group psychology. She is 
currently in private practice as a therapist in San Francisco and works 
at a publicly funded clinic in the Mission, where she leads a process 
group for women. She serves on the board for Small Press Traffic, and is 
expecting a new book, Ladies of Leisure, in June from Cy Press.

DANA WARD is the author of a couple of books that just came out in 
2009—Roseland (Editions Louis Wain) & the Drought (Open 24hrs). He lives 
in Cincinnati, edits Cy Press, & works as an advocate for adult literacy 
at the Over-the-Rhine Learning Center.


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from Jesse Morse:


Smorg presents

Susan Tichy
Stacy Szymaszek

Tuesday, June 30th
7:30 pm

The Waypost
3120 N. Williams Ave.

Food, beer, wine and espresso all available at The Waypost.

This reading sponsored by Ninkasi.

----

Susan Tichy's most recent book, /Bone Pagoda/ (Ahsahta Press, 2007), is 
an extended meditation on Vietnam---the country, the war, and the moral 
catastrophe signified by this word in American memory. It is 
underwritten by her experience as a war protester and as the wife of a 
combat veteran. Her poems have appeared widely in the US and Britain, 
and have been recognized by a grant from the National Endowment for the 
Arts and numerous awards. She teaches in the Graduate Writing Program at 
George Mason University in Virginia, and otherwise makes her home in a 
ghost town in the Colorado Rockies. Her fourth book, /Gallowglass/, will 
be out from Ahsahta in 2010.

Stacy Szymaszek is the author of /Emptied of All Ships/ (Litmus Press, 
2005), /Hyperglossia/ (Litmus Press, 2009) as well as many chapbooks, 
most recently /Orizaba: A Voyage With Hart Crane/ (Faux, 2008). A 
limited edition letterpress chapbook, /from Hart Island,/ is forthcoming 
from Albion Books. She is the editor of /Gam/ and the Artistic Director 
of the Poetry Project at St. Mark's Church.

--------------040504010408040400030905
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from Jesse Morse:<br>
<br>
<br>
Smorg presents<br>
<br>
Susan Tichy<br>
Stacy Szymaszek<br>
<br>
Tuesday, June 30th<br>
7:30 pm<br>
<br>
The Waypost<br>
3120 N. Williams Ave.<br>
<br>
Food, beer, wine and espresso all available at The Waypost.<br>
<br>
This reading sponsored by Ninkasi.<br>
<br>
----<br>
<br>
Susan Tichy&#8217;s most recent book, <i>Bone Pagoda</i> (Ahsahta Press,
2007), is an extended meditation on Vietnam&#8212;the country, the war, and
the moral catastrophe signified by this word in American memory. It is
underwritten by her experience as a war protester and as the wife of a
combat veteran. Her poems have appeared widely in the US and Britain,
and have been recognized by a grant from the National Endowment for the
Arts and numerous awards. She teaches in the Graduate Writing Program
at George Mason University in Virginia, and otherwise makes her home in
a ghost town in the Colorado Rockies. Her fourth book, <i>Gallowglass</i>,
will be out from Ahsahta in 2010.<br>
<br>
Stacy Szymaszek is the author of <i>Emptied of All Ships</i> (Litmus
Press, 2005), <i>Hyperglossia</i> (Litmus Press, 2009) as well as many
chapbooks, most recently <i>Orizaba: A Voyage With Hart Crane</i>
(Faux, 2008). A limited edition letterpress chapbook, <i>from Hart
Island,</i> is forthcoming from Albion Books. She is the editor of <i>Gam</i>
and the Artistic Director of the Poetry Project at St. Mark's Church. <br>
</body>
</html>

--------------040504010408040400030905--

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Spare Room presents

*Jennifer Bartlett
Sarah Mangold
Lindsey Boldt
*
Saturday, July 25
4:00 pm

4903 SE Rural (south of Woodstock, between 39th and 52nd)

for directions, or other information:
503-819-9455

Free admission


*NOTE:*

This is a house reading and potluck hosted by Maryrose Larkin and Eric 
Matchett; all are welcome.
Parking is on the south side of Rural, or in the driveway.

=====================================================

Upcoming Readings

August 6: Norma Cole & Lindsay Hill
August 16: Graham Foust & Eric Baus

September 20: Joe Massey & Joel Felix

=====================================================

*Jennifer Bartlett* was a 2005 New York Foundation for the Arts Poetry 
Fellow. Her first collection is /Derivative of the Moving Image/ 
(University of New Mexico Press, 2007). Individual poems from her 
/[Husband]/ series are in the current /New American Writing/.

*Sarah Mangold* is the author of /Household Mechanics/ (New Issues) and 
the chapbooks /Parlor/ (Dusie Kollectiv), /Picture of the Basket /(Dusie 
kollectiv), /Boxer Rebellion/ (g o n g), and /Blood Substitutes/ (Potes 
& Poets). She lives in Seattle where she edits /Bird Dog/. She also 
co-edits, with Maryrose Larkin, FLASH + CARD, a chapbook and ephemera press.

*Lindsey Boldt* lives in San Francisco, where she works as an assistant 
editor with Post-Apollo Press and an after-school teacher with 
elementary kids. She is currently working on a book of /Titty Poems/, a 
retelling of the movie /Overboard/, and a collaboration with artist 
Morgan Levy on poems about the importance of ponies in the lives of 
girl-children. She is very proud of her blog 
(www.ridiculoushuman.blogspot.com 
<http://www.ridiculoushuman.blogspot.com>) because it brings her joy. 
She's glad to know you.

=====================================================

*from /[Husband]/*


for k.

now, wife, get in your little boat and row

 

and row                                                            away

 

into sleep

 

remember the tales insist upon including a ghost and a body of water

but since they are a mere translation we don't know what they insist upon

really

 

I want and want

            and this

wanting is a trap

           

/if you tried and failed in your mission the honor/

/            /little one

/ /

/to which japan declines any response other than silence/

/ /

so that, every gesture

            was calculated with longing

/ /

/the integrity of this body is beyond doubt/

/ /

we never believed for a moment that you were or could be guilty



*Jennifer Bartlett*




                    *Mothers must always prove their readiness*



                    Most missing girls are dead girls. The lady
                    detective. Relevant short stories. Caught in the
                    throat. Set in the plains. Tea in Wyoming.
                    Everything else is a flash back. Bruises.
                    Wristsarms. Collect an advance. Seize. Elbow. Your
                    health insurance will remain on paper. The envelope
                    was a breath of air. An exhale. It was both. Small
                    pings. Wing flutters.



                    *Sarah Mangold*

*


*
*Peer Counseling*


Your Mommy issues

and my Daddy issues

should get together and spoon


*Lindsey Boldt*


--------------020708070009050104040808
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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
Spare Room presents<br>
<br>
<b>Jennifer Bartlett<br>
Sarah Mangold<br>
Lindsey Boldt<br>
</b><br>
Saturday, July 25<br>
4:00 pm<br>
<br>
4903 SE Rural (south of Woodstock, between 39th and 52nd)<br>
<br>
for directions, or other information: <br>
503-819-9455<br>
<br>
Free admission<br>
<br>
<br>
<b>NOTE:</b><br>
<br>
This is a house reading and potluck hosted by Maryrose Larkin and Eric
Matchett; all are welcome.<br>
Parking is on the south side of Rural, or in the driveway.<br>
<br>
=====================================================<br>
<br>
Upcoming Readings<br>
<br>
August 6: Norma Cole &amp; Lindsay Hill<br>
August 16: Graham Foust &amp; Eric Baus<br>
<br>
September 20: Joe Massey &amp; Joel Felix<br>
<br>
=====================================================<br>
<br>
<b>Jennifer Bartlett</b> was a 2005 New York Foundation for the Arts
Poetry Fellow. Her first collection
is <i>Derivative of the Moving Image</i> (University of New Mexico
Press, 2007). Individual poems from her
<i>[Husband]</i> series are in the current <i>New American Writing</i>.<br>
<br>
<b>Sarah Mangold</b> is the author of <i>Household Mechanics</i> (New
Issues) and the chapbooks <i>Parlor</i> (Dusie Kollectiv), <i>Picture
of the Basket </i>(Dusie kollectiv), <i>Boxer Rebellion</i> (g o n
g), and <i>Blood Substitutes</i> (Potes &amp; Poets). She lives in
Seattle where she edits <i>Bird Dog</i>. She also co-edits, with
Maryrose Larkin, FLASH + CARD, a chapbook and ephemera press.<br>
<br>
<span style="border-collapse: collapse;"><b>Lindsey Boldt</b> lives
in San Francisco, where she works as an assistant editor with
Post-Apollo Press and an after-school teacher with elementary kids. She
is currently
working on a book of <i>Titty Poems</i>, a retelling of the movie <i>Overboard</i>,
and a collaboration with artist Morgan Levy on poems
about the importance of ponies in the lives of girl-children. She is
very proud of her blog (<a
 href="http://www.ridiculoushuman.blogspot.com" target="_blank"><span
 style="color: rgb(0, 0, 0);">www.ridiculoushuman.blogspot.</span><span
 style="color: rgb(0, 0, 0);">com</span></a>) because it brings her
joy. She's glad to know you.</span>
<div><span style="border-collapse: collapse;"></span><br>
=====================================================<br>
</div>
<br>
<b>from <i>[Husband]</i></b><br>
<div><span style="font-style: italic;"><br>
<br>
for k.</span></div>
<div><br>
</div>
<div>
<p>now, wife, get in your little boat and row </p>
<p>&nbsp;</p>
<p>and row<span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span><span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>away</p>
<p>&nbsp;</p>
<p>into sleep</p>
<p>&nbsp;</p>
<p>remember the tales insist upon including a ghost and a body
of water</p>
<p>but since they are a mere translation we don't know what
they insist upon</p>
<p>really</p>
<p>&nbsp;</p>
<p>I want and want</p>
<p><span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>and
this</p>
<p>wanting is a trap</p>
<p><span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></p>
<p><i>if you tried and failed in your mission the honor</i></p>
<p><i><span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></i><span style="font-style: normal;">little
one</span></p>
<p><i>&nbsp;</i></p>
<p><i>to which japan declines any response other than silence</i></p>
<p><i>&nbsp;</i></p>
<p>so that, every gesture</p>
<p><span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>was
calculated with longing</p>
<p><i>&nbsp;</i></p>
<p><i>the integrity of this body is beyond doubt</i></p>
<p><i>&nbsp;</i></p>
<p>we never believed for a moment that you were or could be
guilty</p>
</div>
<br>
<br>
<b>Jennifer Bartlett</b><br>
<br>
<br>
<br>
<br>
<blockquote>
  <blockquote>
    <blockquote>
      <blockquote>
        <blockquote><b>Mothers must always prove their readiness</b><br>
        </blockquote>
      </blockquote>
    </blockquote>
  </blockquote>
</blockquote>
<br>
<br>
<blockquote>
  <blockquote>
    <blockquote>
      <blockquote>
        <blockquote>
          <div align="justify">Most missing girls are dead girls. The
lady detective. Relevant short stories. Caught in the throat. Set in
the plains. Tea in Wyoming. Everything else is a flash back. Bruises.
Wristsarms. Collect an advance. Seize. Elbow. Your health insurance
will remain on paper. The envelope was a breath of air. An exhale. It
was both. Small pings. Wing flutters.<br>
          </div>
        </blockquote>
      </blockquote>
    </blockquote>
  </blockquote>
</blockquote>
<br>
<br>
<blockquote>
  <blockquote>
    <blockquote>
      <blockquote>
        <blockquote><b>Sarah Mangold</b><br>
        </blockquote>
      </blockquote>
    </blockquote>
  </blockquote>
</blockquote>
<b><br>
<br>
<br>
</b><br>
<b>Peer Counseling</b><br>
<br>
<br>
Your Mommy issues<br>
<br>
and my Daddy issues<br>
<br>
should get together and spoon<br>
<br>
<br>
<b>Lindsey Boldt</b><br>
<br>
</body>
</html>

--------------020708070009050104040808--

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Market Day Poetry Series

Saturday, July 25
12:00 noon

Sam Lohmann
Allison Cobb
David Abel

St Johns Booksellers
8622 N. Lombard
503-283-0032
www.stjohnsbooks.com


The Market Day Poetry Series is a collaboration between St. Johns 
Booksellers and the new St. Johns Farmers' Market (located in the nearby 
plaza), taking place each Saturday at noon during the market season.


About the readers:

Sam Lohmann is the publisher of , which has moved from annual to 
semiannual frequency with the issue number 4, hot off the press. He is 
also the copublisher of the monthly email newsletter /What We Are 
Learning/. He is the author of several chapbooks; /Onlooking/ is 
forthcoming this summer from airfoil.

Allison Cobb is the author of the poetry collection /Born2/ from Chax 
Press, a chronicle of Los Alamos, New Mexico -- her birthplace and the 
home of the atomic bomb. Her work has been published widely, and she is 
the recipient of a 2009 New York Foundation for the Arts fellowship. She 
recently moved from Brooklyn, NY to Portland.

David Abel is one of the founding organizers of the Spare Room reading 
series, and the editor/publisher of the Envelope broadside series. His 
most recent chapbook, /Commonly/, was published this spring by airfoil. 
He has been active in interdisciplinary projects in Portland for many 
years as a collaborator, curator, and performer.



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</head>
<body bgcolor="#ffffff" text="#000000">
Market Day Poetry Series<br>
<br>
Saturday, July 25<br>
12:00 noon<br>
<br>
Sam Lohmann<br>
Allison Cobb<br>
David Abel<br>
<br>
St Johns Booksellers<br>
8622 N. Lombard<br>
503-283-0032<br>
<a class="moz-txt-link-abbreviated" href="http://www.stjohnsbooks.com">www.stjohnsbooks.com</a><br>
<br>
<br>
The Market Day Poetry Series is a collaboration between St. Johns
Booksellers and the new St. Johns Farmers' Market (located in the
nearby plaza), taking place each Saturday at noon during the market
season.<br>
<br>
<br>
About the readers:<br>
<br>
Sam Lohmann is the publisher of , which has moved from annual to
semiannual frequency with the issue number 4, hot off the press. He is
also the copublisher of the monthly email newsletter <i>What We Are
Learning</i>. He is the author of several chapbooks; <i>Onlooking</i>
is forthcoming this summer from airfoil.<br>
<br>
Allison Cobb is the author of the poetry collection <i>Born2</i> from
Chax Press, a chronicle of Los Alamos, New Mexico -- her birthplace and
the home of the atomic bomb. Her work has been published widely, and
she is the recipient of a 2009 New York Foundation for the Arts
fellowship. She recently moved from Brooklyn, NY to Portland.<br>
<br>
David Abel is one of the founding organizers of the Spare Room reading
series,
and the editor/publisher of the Envelope broadside series. His most
recent chapbook, <i>Commonly</i>, was published this spring by
airfoil. He has been active in interdisciplinary projects in Portland
for many years as a collaborator, curator, and performer.<br>
<br>
<br>
</body>
</html>

--------------080900030503090206020801--

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(please note that this reading is on a /*Thursday*/ evening)


Spare Room presents

*Norma Cole
Lindsay Hill*

Thursday, August 6
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming Readings

August 16: Graham Foust & Eric Baus
September 20: Joe Massey & Joel Felix

=============================================

*Norma Cole*'s new work just out: /Natural Light/ (Libellum) and /Where 
Shadows Will: Selected Poems 1988---2008/ (City Lights); forthcoming in 
June 2010, /TO BE AT MUSIC: Essays & Talks/ (Omnidawn). Current 
translation work includes Danielle Collobert's /Journals/, Fouad Gabriel 
Naffah's /The Spirit God and the Properties of Nitrogen,/ and /Crosscut 
Universe:  Writing on Writing from France/.

*Lindsay Hill* lives in Portland. A Spare Room organizer emeritus, his 
most recent books are /Sea of Hooks/ (Arundel Seattle) and /Contango/ 
(Singing Horse Press).

=============================================


*Riptide*

                    /There's a shadow over the city/
                    /the light, as usual, framing and erasing/

Just say you
dream fires each
night smoothing each
collapsing page from

the throat talking
in a series
of measures in
the high desert

the perfect life
in a series
of measured gestures
an invitation to

see the world
from a bridge
that burns in
the next night


*Norma Cole*




*Sea of Hooks*

A boy grew up
beside a sea of hooks
and he learned to swim
in that sea
and to notice the hooks
as they rose
and fell
and twisted in the tides

And he learned
to feel his way
at first very slowly
in the sea of hooks

And he noticed that all around him
people had hooks
in their skin
and were being pulled
in many directions

And many of the hooks
were small and hard to see
barely silver in the glinting
light down deep
barely visible
and numerous

And some
from the place of his birth
would not put a toe
in that sea

And some lived
their entire lives
full of hooks
in the underneath

*Lindsay Hill*

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</head>
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(please note that this reading is on a <i><b>Thursday</b></i> evening)<br>
<br>
<br>
Spare Room presents<br>
<br>
<b>Norma Cole<br>
Lindsay Hill</b><br>
<br>
Thursday, August 6<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming Readings<br>
<br>
August 16: Graham Foust &amp; Eric Baus<br>
September 20: Joe Massey &amp; Joel Felix<br>
<br>
=============================================<br>
<br>
<b>Norma Cole</b>&#8217;s new work just out: <i>Natural Light</i> (Libellum)
and <i>Where Shadows Will: Selected Poems 1988&#8212;2008</i> (City Lights);
forthcoming in June 2010, <i>TO BE AT MUSIC: Essays &amp; Talks</i>
(Omnidawn). Current translation work includes Danielle Collobert&#8217;s <i>Journals</i>,
Fouad Gabriel Naffah&#8217;s <i>The Spirit God and the Properties of
Nitrogen,</i> and <i>Crosscut Universe:&nbsp; Writing on Writing from France</i>.
<br>
<br>
<b>Lindsay Hill</b> lives in Portland. A Spare Room organizer emeritus,
his most recent books are <i>Sea of Hooks</i> (Arundel Seattle) and <i>Contango</i>
(Singing Horse Press).<br>
<br>
=============================================<br>
<br>
<br>
<b>Riptide</b><br>
<blockquote>
  <blockquote>
    <blockquote>
      <blockquote>
        <blockquote>
          <div align="right"><i>There&#8217;s a shadow over the city</i><br>
          <i>the light, as usual, framing and erasing</i><br>
          </div>
        </blockquote>
      </blockquote>
    </blockquote>
  </blockquote>
</blockquote>
Just say you<br>
dream fires each<br>
night smoothing each<br>
collapsing page from<br>
<br>
the throat talking<br>
in a series<br>
of measures in<br>
the high desert<br>
<br>
the perfect life<br>
in a series<br>
of measured gestures<br>
an invitation to<br>
<br>
see the world<br>
from a bridge<br>
that burns in<br>
the next night<br>
<br>
<br>
<b>Norma Cole</b><br>
<br>
<br>
<br>
<br>
<b>Sea of Hooks</b><br>
<br>
A boy grew up<br>
beside a sea of hooks<br>
and he learned to swim<br>
in that sea<br>
and to notice the hooks<br>
as they rose<br>
and fell<br>
and twisted in the tides<br>
<br>
And he learned<br>
to feel his way<br>
at first very slowly<br>
in the sea of hooks<br>
<br>
And he noticed that all around him<br>
people had hooks<br>
in their skin<br>
and were being pulled<br>
in many directions<br>
<br>
And many of the hooks<br>
were small and hard to see<br>
barely silver in the glinting<br>
light down deep<br>
barely visible<br>
and numerous<br>
<br>
And some<br>
from the place of his birth<br>
would not put a toe<br>
in that sea<br>
<br>
And some lived<br>
their entire lives<br>
full of hooks<br>
in the underneath<br>
<br>
<b>Lindsay Hill</b><br>
</body>
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--------------050300010402030703090007--

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Spare Room presents

*Crag Hill
Douglas Rothschild
*
Saturday, August 15

Please join us for a house reading and potluck in SE Portland,
hosted by Jennifer Coleman and Allison Cobb:

213 SE 26th

2:00 pm gathering and potluck
3:00 pm reading


www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming Readings

August 16: Graham Foust & Eric Baus
September 20: Joe Massey & Joel Felix
October 25: Peter O'Leary & Michael Autrey

=============================================

During the anemic Carter administration, *Crag Hill* kicked the "i" out 
of his first name. Continuing to be underwhelmed by his elected leaders, 
he threatens to kick out the last vowel, too soft, too soft, he says. 
Until recently he edited SCORE, one of the few journals dedicated 
exclusively to concrete/visual poetry. His creative and critical works 
in progress can be found at http://scorecard.typepad.com. He teaches 
future teachers of English at Washington State University.

New York poet *Douglas Rothschild*'s book /Theogeny/ is out this year 
from Subpress Books. Says poet Anselm Berrigan: "This is a book of 
tremendous clarity, and I'm grateful for its existence." Pierre Joris 
has called it "My favorite book of poems for 2009 so far [...] and a 
long time a-coming." Douglas Rothschild's life has been one long miasma 
of failure, disappointment, coffee, & overarching desire. Though he has 
not yet accomplished anything of note, Mr. Rothschild intends to 
continue on for some time yet.

=============================================

*from /Four'sCore/*

Hear distant shouts, the indefensible cries of a shipwreck. The 
arguments twisted her arm. She fought him off. I think that one shouted 
in silence again, lifted her off the air for an instant with her 
pathology or developmental space. The bad news brought mountains. One 
part of him grew directly contrary to observations. He imagined himself 
(it was all he could afford).

*Crag Hill


*
*Beantown News*

Take your attitude
& put it in your
big car & get it
off my street.

This here yellow
curb, ain't a parking
spot, & it ain't your
prsonalized

economic entitlement
zone.

*Douglas Rothschild*


--------------090703090509090504060604
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<div class="moz-text-html" lang="x-western">Spare Room presents<br>
<br>
<b>Crag Hill<br>
Douglas Rothschild<br>
</b><br>
Saturday, August 15<br>
<br>
Please join us for a house reading and potluck in SE Portland, <br>
hosted by Jennifer Coleman and Allison Cobb:<br>
<br>
213 SE 26th<br>
<br>
2:00 pm gathering and potluck<br>
3:00 pm reading<br>
<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming Readings<br>
<br>
August 16: Graham Foust &amp; Eric Baus<br>
September 20: Joe Massey &amp; Joel Felix<br>
October 25: Peter O'Leary &amp; Michael Autrey<br>
<br>
=============================================<br>
<br>
During the anemic Carter administration, <b>Crag Hill</b> kicked the
"i" out of his first name. Continuing to be underwhelmed by his elected
leaders, he threatens to kick out the last vowel, too soft, too soft,
he says. Until recently he edited SCORE, one of the few journals
dedicated exclusively to concrete/visual poetry. His creative and
critical works in progress can be found at <a
 class="moz-txt-link-freetext" href="http://scorecard.typepad.com">http://scorecard.typepad.com</a>.
He teaches future teachers of English at Washington State University.
<br>
<br>
New York poet <b>Douglas Rothschild</b>'s book <i>Theogeny</i> is out
this year from Subpress Books. Says poet Anselm Berrigan: &#8220;This
is a book of tremendous clarity, and I'm grateful for its existence.&#8221;
Pierre Joris has called it &#8220;My favorite book of poems for 2009 so far
[&#8230;] and a long time a-coming.&#8221; Douglas Rothschild's life has been one
long miasma of
failure, disappointment, coffee, &amp; overarching desire. Though he
has
not yet accomplished anything of note, Mr. Rothschild intends to
continue on for some time yet.<br>
<br>
</div>
=============================================<br>
<br>
<b>from <i>Four'sCore</i></b><br>
<br>
Hear distant shouts, the indefensible cries of a shipwreck. The
arguments twisted her arm. She fought him off. I think that one shouted
in silence again, lifted her off the air for an instant with her
pathology or developmental space. The bad news brought mountains. One
part of him grew directly contrary to observations. He imagined himself
(it was all he could afford).
<br>
<br>
<b>Crag Hill<br>
<br>
<br>
</b><br>
<b>Beantown News</b><br>
<br>
Take your attitude<br>
&amp; put it in your<br>
big car &amp; get it<br>
off my street.<br>
<br>
This here yellow<br>
curb, ain't a parking<br>
spot, &amp; it ain't your<br>
prsonalized<br>
<br>
economic entitlement<br>
zone.<br>
<br>
<b>Douglas Rothschild</b><br>
<br>
</body>
</html>

--------------090703090509090504060604--

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Spare Room presents
*
Eric Baus
* *Graham Foust

*Sunday, August 16
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

=============================================

Upcoming Readings

August 15: Crag Hill & Douglas Rothschild
August 16: Graham Foust & Eric Baus

September 20: Joe Massey & Joel Felix

October 25: Peter O'Leary & Michael Autrey

=============================================

*Eric Baus* is the author of /The To Sound/ (Wave Books) and /Tuned 
Droves/ (Octopus Books). He edits Minus House chapbooks and writes about 
poetry audio recordings on the site /To The Sound/. He lives in Denver.

*Graham Foust* lives in Oakland and works at Saint Mary's College of 
California.  His fourth book, /A Mouth in California/, will be published 
by Flood Editions in September.

=============================================


*Votive Scores*

If eels lie vertically inside the statue or old bees coat its surface,
a needle will point to the center of my hide. Owls murmured up a piece
of green cloth. Hard ash topped me. The birds it entailed peopled the
treetops, stripped me of my coos. Un-tuned doves flew elsewhere,
worried their drones would shrink inside my ears. A second split
occurred when its eyes bloomed red. Votive scores pushed open the
view. Here, the street was both omen and throat. The swarming sky
sparrowed until day withered, until the statue punched out of its
skin. He was wearing his own arms. His house showed. Ants formed and
he scorched their trails. Sing rendered, he trilled, Sing posed.

*Eric Baus*



*To the Writer*

Another cloud spun to nothing, one
of nature's more manageable kills.
Another borderline-meaningless morning save
for everything. You claim you kissed
a certain picture with such patience
you became it. So who hasn't?
You're of one long weary trouble;
you wear your hard mind on your hand.

Thus, your dumb touch, your clunky
fuss, your little millions. Your stomach
newly stuffed with amputations. Quiet
and furious dots of distant rooms -- rooms,
I would add, through which you'll never move
or sleep -- begin to mean. In one of them,
humor, collapsed in a painful curl, an odd
head at the back of its throat. It's what's to bleed about.

*Graham Foust*


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Spare Room presents<br>
<b><br>
Eric Baus<br>
</b>
<b>Graham Foust<br>
<br>
</b>Sunday, August 16<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
=============================================<br>
<br>
Upcoming Readings<br>
<br>
August 15: Crag Hill &amp; Douglas Rothschild<br>
August 16: Graham Foust &amp; Eric Baus<br>
<br>
September 20: Joe Massey &amp; Joel Felix<br>
<br>
October 25: Peter O'Leary &amp; Michael Autrey<br>
<br>
=============================================<br>
<br>
<b>Eric Baus</b> is the author of <i>The To Sound</i> (Wave Books) and
<i>Tuned Droves</i> (Octopus Books). He edits Minus House chapbooks and
writes about poetry audio recordings on the site <i>To The Sound</i>.
He lives in Denver.<br>
<br>
<b>Graham Foust</b> lives in Oakland and works at Saint Mary's College
of California.&nbsp; His fourth book, <i>A Mouth in California</i>, will be
published by Flood Editions in September.<br>
<br>
=============================================<br>
<br>
<br>
<b>Votive Scores</b><br>
<br>
If eels lie vertically inside the statue or old bees coat its surface,<br>
a needle will point to the center of my hide. Owls murmured up a piece<br>
of green cloth. Hard ash topped me. The birds it entailed peopled the<br>
treetops, stripped me of my coos. Un-tuned doves flew elsewhere,<br>
worried their drones would shrink inside my ears. A second split<br>
occurred when its eyes bloomed red. Votive scores pushed open the<br>
view. Here, the street was both omen and throat. The swarming sky<br>
sparrowed until day withered, until the statue punched out of its<br>
skin. He was wearing his own arms. His house showed. Ants formed and<br>
he scorched their trails. Sing rendered, he trilled, Sing posed.<br>
<br>
<b>Eric Baus</b><br>
<br>
<br>
<br>
<b>To the Writer</b><br>
<br>
Another cloud spun to nothing, one<br>
of nature&#8217;s more manageable kills.<br>
Another borderline-meaningless morning save<br>
for everything. You claim you kissed<br>
a certain picture with such patience<br>
you became it. So who hasn&#8217;t?<br>
You&#8217;re of one long weary trouble;<br>
you wear your hard mind on your hand.<br>
<br>
Thus, your dumb touch, your clunky<br>
fuss, your little millions. Your stomach<br>
newly stuffed with amputations. Quiet<br>
and furious dots of distant rooms -- rooms,<br>
I would add, through which you&#8217;ll never move<br>
or sleep -- begin to mean. In one of them,<br>
humor, collapsed in a painful curl, an odd<br>
head at the back of its throat. It&#8217;s what&#8217;s to bleed about.<br>
<br>
<b>Graham Foust</b><br>
<br>
</div>
</body>
</html>

--------------040000030408000609010107--

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Market Day Poetry Series

Saturday, September 5
12:00 noon
Free

*Maryrose Larkin
Jen Coleman
Kaia Sand*

St Johns Booksellers
8622 N. Lombard
503-283-0032
www.stjohnsbooks.com


The Market Day Poetry Series is a collaboration between St. Johns 
Booksellers and the new St. Johns Farmers' Market (located in the nearby 
plaza), taking place each Saturday at noon during the market season.


About the readers:

*Maryrose Larkin* is the author of /The Book of Ocean/ (i.e.), /Inverse/ 
(nine muses), and /Whimsy Daybook 2007/ (FLASH+CARD); /The Name of This 
Intersection Is Frost/ is forthcoming from Shearsman. She is one of the 
organizers of the Spare Room reading series (www.flim.com/spareroom), 
and is coeditor, with Sarah Mangold, of FLASH+CARD, a chapbook and 
ephemera poetry press.

*Jen Coleman* is one of many, many Jens in the world of poetry. Her work 
has appeared in various literary journals, including /Chain, Ixnay, 
Tangent, /and/ EOAGH./  She's new to PDX most recently from NYC by way 
of DC.

*Kaia Sand* is the author of a poetry collection, /interval /(Edge Books 
2004), and coauthor with Jules Boykoff of/ Landscapes of Dissent: 
Guerrilla Poetry and Public Space /(Palm Press 2008). /Remember to 
Wave/, forthcoming with Tinfish Press, investigates political geography 
in North Portland, and includes directions for a guided poetry walk.
/
/


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Market Day Poetry Series<br>
<br>
Saturday, September 5<br>
12:00 noon<br>
Free<br>
<br>
<b>Maryrose Larkin<br>
Jen Coleman<br>
Kaia Sand</b><br>
<br>
St Johns Booksellers<br>
8622 N. Lombard<br>
503-283-0032<br>
<a class="moz-txt-link-abbreviated" href="http://www.stjohnsbooks.com">www.stjohnsbooks.com</a><br>
<br>
<br>
The Market Day Poetry Series is a collaboration between St. Johns
Booksellers and the new St. Johns Farmers' Market (located in the
nearby plaza), taking place each Saturday at noon during the market
season.<br>
<br>
<br>
About the readers:<br>
<br>
<b>Maryrose Larkin</b> is the author of <i>The Book of
Ocean</i> (i.e.), <i>Inverse</i> (nine muses), and <i>Whimsy Daybook
2007</i> (FLASH+CARD); <i>The Name of This Intersection Is Frost</i>
is forthcoming from Shearsman. She is one of the organizers of the
Spare Room
reading series (<a class="moz-txt-link-abbreviated"
 href="http://www.flim.com/spareroom">www.flim.com/spareroom</a>), and
is
coeditor, with Sarah Mangold, of FLASH+CARD, a chapbook and ephemera
poetry press.<br>
<br>
<b>Jen Coleman</b> is one of many, many Jens in the world of poetry.
Her work
has appeared in various literary journals, including <i>Chain, Ixnay,
Tangent, </i>and<i> EOAGH.</i>&nbsp; She's new to PDX most recently from
NYC by way of
DC.<br>
<br>
<div><b>Kaia Sand</b> is the author of a poetry collection,&nbsp;<i>interval&nbsp;</i>(Edge
Books 2004), and coauthor with Jules Boykoff of<i>&nbsp;Landscapes of
Dissent: Guerrilla Poetry and Public Space&nbsp;</i>(Palm Press 2008). <i>Remember
to Wave</i>, forthcoming with Tinfish Press, investigates
political geography in North Portland, and includes directions for a
guided poetry walk.</div>
<div><i><br>
</i></div>
<br>
</div>
</body>
</html>

--------------090603000601010508000203--

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Subject: [Spare Room Press Release] Sun. 2/7: Jesse Morse & Allison Cobb
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Spare Room presents
*
Jesse Morse
Allison Cobb
**
*Sunday, February 7
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

==================================================
*Upcoming Readings*

February 21: /Bill Berkson
/March 21: /Canarium Books Reading Tour:/
     /Suzanne Buffam, John Beer, Ish Klein, & Paul Killebrew/
April: /TBA/
May 15: /David Wolach & Jen Coleman/
==================================================

*Jesse Morse*, for the time being, lives and writes out of Portland, 
Oregon. His work, most recently, appears in Peaches & Bats, Vanitas/,/ 
and Page Boy. He curates the Smorg reading series. He's been writing 
sonnets, with a revolving acrostic, for the last half year.

*Allison Cobb* is the author of /Born2/ (Chax Press) and the 
just-published /Green-Wood/ (Factory School), which chronicles her 
experiences in Brooklyn, New York's famous nineteenth-century Green-Wood 
Cemetery. She was born in Los Alamos, New Mexico, as were the first 
atomic bombs, and she now lives in Portland, Oregon.

==================================================

Alibis aren't needed to mitigate the confusion of
Veins, Eric. This parking lot romance shot stick through the
Evening's curtained heart. Attraction's fleeting pull as
Zelig, the chameleon, adrift from one week to next. How to hold these
 
Explanations in lieu of your support? I can't. I miss the
Reality of our past superstitions, their myths an
Inconceivable destination at this point, the whole thing caught in
Crossfire, your stubborn need to tauten the bow. If you
 
Cared enough you'd be consistent. All the trophies you
Held dear now lost, Eric, in the rotating field, night's omnibus
Against the committed future. So leave the superfluity and
 
Vitriol to its minor key, not in imagination nor
Expectation, but presentation, putting dreams on hold the
Zone you often navigate to build your ideal.

*Jesse Morse*



*from /Green-Wood/*


LITTLE WONDER leaf blower   /Hi daddy/

in black marker on a pumpkin partly

eaten near no grave   poised today

above the Astroturf   the flag

draped coffin of a soldier    bowed head

honor guard beside the road   bus horn

blast from Jackie Gleason depot    I skirt

the mourning circle almost stumble

on a soldier standing in the trees   waiting

with his trumpet to play taps     the sun

floods out from clouds     hands lift to eyes

to noses     warm I stand in changing

light   muscles tensed like the intruder

that I am   two white-gloved soldiers

work to tuck the folded flag ends in 

peaked hats pressed together   

in the subway sings a guy

with few teeth in clear bell voice

/I ain't gonna study war no more/

but I am   more and more


*Allison Cobb


*

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</head>
<body bgcolor="#ffffff" text="#000000">
<div class="moz-text-html" lang="x-western">
<div class="moz-text-html" lang="x-western">Spare Room presents<br>
<b><br>
Jesse Morse<br>
Allison Cobb<br>
</b><b><br>
</b>Sunday, February 7<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
==================================================<br>
<b>Upcoming Readings</b><br>
<br>
February 21: <i>Bill Berkson<br>
</i>March 21: <i>Canarium Books Reading Tour:</i> <br>
&nbsp;&nbsp;&nbsp;&nbsp; <i>Suzanne Buffam, John Beer, Ish Klein, &amp; Paul Killebrew</i><br>
April: <i>TBA</i><br>
May 15: <i>David Wolach &amp; Jen Coleman</i><br>
==================================================<font
 face="Times New Roman, Times, serif"><br>
<br>
</font><b>Jesse Morse</b>, for the time being, lives and writes out of
Portland, Oregon. His work, most recently, appears in <span
 style="font-style: italic;">Peaches &amp; Bats, Vanitas<i>,</i></span>
and <span style="font-style: italic;">Page Boy</span>. He curates the
Smorg reading series. He's been writing sonnets, with a revolving
acrostic, for the last half year.<br>
<br>
<b>Allison Cobb</b> is the author of <i>Born2</i> (Chax Press) and the
just-published
<i>Green-Wood</i> (Factory School), which chronicles her experiences in
Brooklyn, New York's famous nineteenth-century Green-Wood Cemetery. She
was born in Los Alamos, New Mexico, as were the first atomic bombs, and
she now lives in Portland, Oregon. <font
 face="Times New Roman, Times, serif"><br>
</font><br>
==================================================<br>
<br>
Alibis aren&#8217;t needed to mitigate the confusion of
<br>
Veins, Eric. This parking lot romance shot stick through the
<br>
Evening&#8217;s curtained heart. Attraction&#8217;s fleeting pull as
<br>
Zelig, the chameleon, adrift from one week to next. How to
hold these
<br>
&nbsp;
<br>
Explanations in lieu of your support? I can&#8217;t. I miss the
<br>
Reality of our past superstitions, their myths an
<br>
Inconceivable destination at this point, the whole thing
caught in
<br>
Crossfire, your stubborn need to tauten the bow. If you
<br>
&nbsp;
<br>
Cared enough you&#8217;d be consistent. All the trophies you
<br>
Held dear now lost, Eric, in the rotating field, night&#8217;s
omnibus
<br>
Against the committed future. So leave the superfluity and
<br>
&nbsp;
<br>
Vitriol to its minor key, not in imagination nor
<br>
Expectation, but presentation, putting dreams on hold the
<br>
Zone you often navigate to build your ideal.<br>
<br>
<b>Jesse Morse</b><br>
<br>
<br>
<br>
<b>from <i>Green-Wood</i></b><br>
<br>
<br>
LITTLE WONDER leaf blower&nbsp;&nbsp; <i>Hi daddy</i><br>
<br>
in black marker on a pumpkin partly<br>
<br>
eaten near no grave&nbsp;&nbsp; poised today<br>
<br>
above the Astroturf&nbsp;&nbsp; the flag<br>
<br>
draped coffin of a soldier&nbsp;&nbsp;&nbsp; bowed head<br>
<br>
honor guard beside the road&nbsp;&nbsp; bus horn<br>
<br>
blast from Jackie Gleason depot&nbsp;&nbsp;&nbsp; I skirt<br>
<br>
the mourning circle almost stumble<br>
<br>
on a soldier standing in the trees&nbsp;&nbsp; waiting<br>
<br>
with his trumpet to play taps&nbsp;&nbsp;&nbsp;&nbsp; the sun<br>
<br>
floods out from clouds&nbsp;&nbsp;&nbsp;&nbsp; hands lift to eyes<br>
<br>
to noses&nbsp;&nbsp;&nbsp;&nbsp; warm I stand in changing<br>
<br>
light&nbsp;&nbsp; muscles tensed like the intruder<br>
<br>
that I am&nbsp;&nbsp; two white-gloved soldiers<br>
<br>
work to tuck the folded flag ends in&nbsp; <br>
<br>
peaked hats pressed together&nbsp;&nbsp;&nbsp; <br>
<br>
in the subway sings a guy<br>
<br>
with few teeth in clear bell voice<br>
<br>
<i>I ain&#8217;t gonna study war no more</i><br>
<br>
but I am&nbsp;&nbsp; more and more<br>
<br>
<br>
<b>Allison Cobb<br>
<br>
<br>
</b></div>
</div>
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From passages@rdrop.com Thu Feb  4 23:37:28 2010
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This Sunday, February 7, two great readings:


4:00 pm
Powell's Books on Hawthorne
3723 SE Hawthorne Ave.

*Kaia Sand*
reading from /Remember to Wave/
(just out from Tinfish Press)

http://www.tinfishpress.com/remember_to_wave.html


/and then/


7:30 pm
Concordia Coffee House
2909 NE Alberta

Spare Room presents

*Jesse Morse & Allison Cobb*

www.flim.com/spareroom






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This Sunday, February 7, two great readings:<br>
<br>
<br>
4:00 pm <br>
Powell's Books on Hawthorne<br>
3723 SE Hawthorne Ave.<br>
<br>
<b>Kaia Sand</b><br>
reading from <i>Remember to Wave</i><br>
(just out from Tinfish Press)<br>
<br>
<a class="moz-txt-link-freetext" href="http://www.tinfishpress.com/remember_to_wave.html">http://www.tinfishpress.com/remember_to_wave.html</a><br>
<br>
<br>
<i>and then</i><br>
<br>
<br>
7:30 pm<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
Spare Room presents<br>
<br>
<b>Jesse Morse &amp; Allison Cobb</b><br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<br>
<br>
<br>
<br>
<br>
</body>
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--------------000404050805090000070000--


From passages@rdrop.com Sat Feb  6 14:29:31 2010
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Subject: [Spare Room Press Release] Friday at noon: Blum Blum Shub
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Blum Blub Shub sound poetry coincidence

(Mark Owens, Leo Daedalus, David Abel, & the ghost in the machine)

a free performance

Friday, Feb. 12, at noon

Portland Center Stage‎
Mezzanine, Gerding Theater at the Armory
128 Northwest 11th Avenue



Part of a series of free performances of Mark Applebaum's graphic score, 
"The Metaphysics of Notation":

Third Angle New Music Ensemble and Portland Center Stage team up to 
present four free performances of artists who interpret and respond to 
Mark Applebaum’s epic graphic score “The Metaphysics of Notation.�

The series of events will be centered around a stunning 72-foot-long 
work of visual art teeming with fantastical musical glyphs, where the 
meaning is deliberately left undefined by the composer. This creative 
exploration is in anticipation of Third Angle’s innovative concert 
“Chance/Perchance: A Musical Happening,� on Friday, March 5 — featuring 
work by David Schiff, Terry Riley and Mark Applebaum — at the Hollywood 
Theatre. The free performances will feature a variety of local actors, 
poets, dance artists and musicians:

February 5: Catlin Gabel 8th Grade Drama Students
February 12: Blum Blum Shub Sound Poetry Coincidence
February 19: Quadrophonnes Saxophone Quartet
February 26: Dance Artist Linda Austin

The Metaphysics of Notation
Fridays in February at noon

Portland Center Stage‎
Mezzanine, Gerding Theater at the Armory
128 Northwest 11th Avenue
Portland, OR 97209

For more information, see 
http://www.thirdangle.org/Free_Concert_Feb_2010.htm


From passages@rdrop.com Fri Feb 12 21:22:26 2010
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Subject: [Spare Room Press Release] Bill Berkson, Poet & Art Critic,
	in Portland
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/It's the Berkson Difference Engine, hitting on the level of the syllable,
illuminating arrays, pure products of daily utterance, mining one of the
deepest veins of living vocabulary ever./  --- Clark Coolidge


*Bill Berkson in Portland*


Details below --- not to be missed!

*_Feb. 21: Spare Room_   ***   Feb. 22: Reed College**   *   March 6: 
Back Room PDX*

In two poetry readings and one informal discussion over a two-week 
period, noted New York School poet and art critic Bill Berkson will make 
a rare appearance in the Pacific Northwest, to celebrate several recent 
publications: /Portrait and Dream: New and Selected Poems/ (Coffee House 
Press); and /Ted Berrigan/ (a collaboration with painter George 
Schneeman) and /Sudden Address: Selected Lectures 1981-2006/ (both from 
Cuneiform Press).

Full Berkson bio and rave blurbs follow detailed event information.

(To read more about Berkson's recent books, go to 
http://www.spdbooks.org/Search/Default.aspx?AuthorName=berkson)


_*Spare Room reading series*_

Sunday, February 21, 7:30 pm
Concordia Coffee House  *  2909 NE Alberta
$5.00 suggested donation
www.flim.com/spareroom

***

*Reed College*

Monday, February 22, 6:30 pm
Eliot Hall, Room 314
Free admission

***

*Back Room PDX*
*"About Philip Guston" *---* a conversation with Rob Slifkin*

Saturday, March 6, 6:30 pm
Cooley Art Gallery, Reed College
Free admission

==========================================================

*Upcoming Readings*
/
/March 21: /Canarium Books Reading Tour:/
     /Suzanne Buffam, John Beer, Ish Klein, & Paul Killebrew/
April tba: /Ammiel Alcalay & tba/
May 15: /David Wolach & Jen Coleman/
June 27: /Deborah Poe & Meredith Blankinship/

==========================================================

*Born in New York in 1939, Bill Berkson* is a poet, critic, teacher and 
sometime curator, who has been active in the art and literary worlds 
since his early twenties. Director of Letters and Science at the San 
Francisco Art Institute from 1993 to 1998, he taught art history, 
critical writing, and poetry and directed the public lectures program 
there from 1984 to 2008. He studied at Trinity School, The Lawrenceville 
School, Brown University, Columbia, the New School for Social Research, 
and New York University's Institute of Fine Arts. 
      He is the author of eighteen books and pamphlets of poetry --- 
including, recently, /Gloria/, a portfolio of poems with etchings by 
Alex Katz (Arion Press), /Our Friends Will Pass Among You Silently/ (The 
Owl Press), /Goods and Services/ (Blue Press), and most recently, 
/Portrait and Dream: New & Selected Poems/ (Coffee House Press).
      A collection of his criticism, /The Sweet Singer of Modernism & 
Other Art Writings/, appeared from Qua Books in 2004, and /Sudden 
Address: Selected Lectures 1981-2006/ from Cuneiform Press, in 2007. A 
new volume of his art writings and interviews, /The Ordinary Artist,/ 
will follow soon.
      Other recent books are /What's Your Idea of a Good Time: Letters & 
Interviews 1977-1985/ with Bernadette Mayer (Tuumba Press); /BILL/ with 
drawings by Colter Jacobsen (Gallery 16 Editions); and /Ted Berrigan/ 
with George Schneeman (Cuneiform Press).
      During the 1960s he was an editorial associate at /Art News/, a 
regular contributor to /Arts/, guest editor at the Museum of Modern Art, 
an associate producer of a program on art for public television, and 
taught literature and writing workshops at the New School and Yale 
University.
      After moving to Northern California in 1970, he began editing and 
publishing a series of poetry books and magazines under the /Big Sky/ 
imprint. Before coming to the Art Institute, he taught regularly in the 
California Poets in the Schools program.
      In the mid-1980s he resumed writing art criticism on a regular 
basis, contributing monthly reviews and articles to /Artforum/ from 1985 
to 1991; he became a corresponding editor for /Art in America/ in 1988 
and also writes frequently for such magazines as /Aperture, Modern 
Painters, Art on Paper/, and others.
      As a curator he has organized or co-curated such exhibitions as 
"Ronald Bladen: Early and Late" (SFMoMA), "Albert York" (Mills College), 
"Why Painting I & II" (Susan Cummins Gallery), "Homage to George 
Herriman" (Campbell-Thiebaud Gallery), and "Facing Eden: 100 Years of 
Northern California Landscape Art" (De Young Museum).
      Past recipient of awards and fellowships from the National 
Endowment for the Arts, Artspace, Yaddo, the Briarcombe Foundation, the 
Fund for Poetry, the Poets Foundation, and the American Academy in Rome, 
he was Distinguished Paul Mellon Lecturer for 2006 at the Skowhegan 
School of Painting and Sculpture in Maine, and was awarded the 2008 
Goldie for Literature from the San Francisco Bay Guardian.
    
 
*Advance praise for /Portrait and Dream: New and Selected Poems /*

"This is a generous selection of work by an important poet of the New 
York School. Known for his relationship to the art world, Bill Berkson 
writes a critically astute, witty ('no rest for liquidity'), and 
lyrically present poetry. The push of his work is upward (buoyancy and 
spirit) and outward into the real---an elevator sitting upright in the 
snow, ash on the keys. His love poems assert especially what all of his 
work knows, that 'the universe reinvents itself ceaselessly.'With each 
new life comes a new language, from the beauty of the everyday to the 
skeptical and postmodern. But the purely poetic, as seen in his 
wonderful translation of Heine ('Selfsame source of all love's flows--- 
/ Lily, dove, sun and rose') is also present, with its binding force and 
knowing glance." ---Paul Hoover

"I'd like to thank Bill Berkson for: epitomizing objectivity & 
subjectivity; amusedly living in the cerulean blue, alizarin crimson 
mixed with titanium white, & burnt sienna world we've got; & writing for 
us." ---Bernadette Mayer

"This is a keeper. A half-century of trenchant observations that never 
become cynical, of arcane knowledge (and gossip) neither obscured nor 
smug. Music and painting as natural as wind and light. 'Logic can't 
atone / Except the fun parts' and 'There is life in scatter yet.' 
Indeed." ---Tom Raworth"


*On Berkson's poetry:*

"Berkson [makes poetry] by means of a language and a form that are never 
what one expects but more exciting and to the point." ---Kenneth Koch

"Bill Berkson's writing is witty, musical, daily and deep, underpinned 
by a bracing integrity and shot through with gorgeous abstraction and 
other brilliant hookups between eye, ear, mind and heart." ---Ron Padgett

"There was always something of a mythical aura about Berkson, the 
collaborator of Frank O'Hara and one of the chiefs of the New York 
School whose friends included painters as well as poets. . . . Berkson's 
own poetry is subtle and demonstratively abstract in the manner of, 
let's say, DeKooning: it has an imagistic hardness and lushness that 
sweeps aside whatever you might have been thinking before." ---Andrei 
Codrescu, /Exquisite Corpse/

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<big><i>It&#8217;s the Berkson Difference Engine, hitting on the level of the
syllable, <br>
illuminating arrays, pure products of daily utterance, mining one of
the <br>
deepest veins of living vocabulary ever.</i>&nbsp; </big>&#8212; <big>Clark
Coolidge</big><br>
<br>
<br>
<big><b>Bill Berkson in Portland</b></big><br>
<br>
<br>
Details below &#8212; not to be missed!<br>
<br>
<b><u>Feb. 21: Spare Room</u> &nbsp; </b><b>* &nbsp; Feb. 22: Reed College</b><b>&nbsp;&nbsp;
*&nbsp;&nbsp; March 6: Back Room PDX</b><br>
<br>
In two poetry readings and one informal discussion over a two-week
period, noted New York School poet and art critic Bill Berkson will
make a rare appearance in the Pacific Northwest, to celebrate several
recent publications: <i>Portrait and Dream: New and Selected Poems</i>
(Coffee House Press); and <i>Ted Berrigan</i> (a collaboration with
painter George Schneeman) and <i>Sudden Address: Selected Lectures
1981-2006</i> (both from Cuneiform Press).<br>
<br>
Full Berkson bio and rave blurbs follow detailed event information. <br>
<br>
(To read more about Berkson's recent books, go to
<a class="moz-txt-link-freetext"
 href="http://www.spdbooks.org/Search/Default.aspx?AuthorName=berkson">http://www.spdbooks.org/Search/Default.aspx?AuthorName=berkson</a>)<br>
<br>
<br>
<u><b>Spare Room reading series</b></u><br>
<br>
Sunday, February 21, 7:30 pm<br>
Concordia Coffee House&nbsp; *&nbsp; 2909 NE Alberta<br>
$5.00 suggested donation<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<br>
***<br>
<br>
<b>Reed College</b><br>
<br>
Monday, February 22, 6:30 pm<br>
Eliot Hall, Room 314<br>
Free admission<br>
<br>
***<br>
<br>
<b>Back Room PDX</b><br>
<b>"About Philip Guston" </b>&#8212;<b> a conversation with Rob Slifkin</b><br>
<br>
Saturday, March 6, 6:30 pm<br>
Cooley Art Gallery, Reed College<br>
Free admission<br>
<br>
==========================================================<br>
<br>
<b>Upcoming Readings</b><br>
<i><br>
</i>March 21: <i>Canarium Books Reading Tour:</i> <br>
&nbsp;&nbsp;&nbsp;&nbsp; <i>Suzanne Buffam, John Beer, Ish Klein, &amp; Paul Killebrew</i><br>
April tba: <i>Ammiel Alcalay &amp; tba</i><br>
May 15: <i>David Wolach &amp; Jen Coleman</i><br>
June 27: <i>Deborah Poe &amp; Meredith Blankinship</i><br>
<br>
==========================================================<br>
<br>
<b>Born in New York in 1939, Bill Berkson</b> is a poet, critic,
teacher and sometime curator, who has been active in the art and
literary worlds since his early twenties. Director of Letters and
Science at the San Francisco Art Institute from 1993 to 1998, he taught
art history, critical writing, and poetry and directed the public
lectures program there from 1984 to 2008. He studied at Trinity School,
The Lawrenceville School, Brown University, Columbia, the New School
for Social Research, and New York University&#8217;s Institute of Fine Arts.&nbsp;
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; He is the author of eighteen books and pamphlets of poetry &#8212;
including, recently, <i>Gloria</i>, a portfolio of poems with etchings
by Alex Katz (Arion Press), <i>Our Friends Will Pass Among You Silently</i>
(The Owl Press), <i>Goods and Services</i> (Blue Press), and most
recently, <i>Portrait and Dream: New &amp; Selected Poems</i> (Coffee
House Press).<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A collection of his criticism, <i>The Sweet Singer of Modernism
&amp;
Other Art Writings</i>, appeared from Qua Books in 2004, and <i>Sudden
Address: Selected Lectures 1981-2006</i> from Cuneiform Press, in 2007.
A new
volume of his art writings and interviews, <i>The Ordinary Artist,</i>
will
follow soon.<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Other recent books are <i>What&#8217;s Your Idea of a Good Time:
Letters &amp; Interviews 1977-1985</i> with Bernadette Mayer (Tuumba
Press); <i>BILL</i> with drawings by Colter Jacobsen (Gallery 16
Editions); and <i>Ted Berrigan</i> with George Schneeman (Cuneiform
Press).<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; During the 1960s he was an editorial associate at <i>Art News</i>,
a regular contributor to <i>Arts</i>, guest editor at the Museum of
Modern Art, an associate producer of a program on art for public
television, and taught literature and writing workshops at the New
School and Yale University. <br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; After moving to Northern California in 1970, he began editing and
publishing a series of poetry books and magazines under the <i>Big Sky</i>
imprint. Before coming to the Art Institute, he taught regularly in the
California Poets in the Schools program.<br>
&nbsp;&nbsp; &nbsp;&nbsp; In the mid-1980s he resumed writing art criticism on a regular
basis, contributing monthly reviews and articles to <i>Artforum</i>
from 1985 to 1991; he became a corresponding editor for <i>Art in
America</i> in 1988 and also writes frequently for such magazines as <i>Aperture,
Modern Painters, Art on Paper</i>, and others. <br>
&nbsp;&nbsp; &nbsp;&nbsp; As a curator he has organized or co-curated such exhibitions as
"Ronald Bladen: Early and Late" (SFMoMA), "Albert York" (Mills
College), "Why Painting I &amp; II" (Susan Cummins Gallery), "Homage to
George Herriman" (Campbell-Thiebaud Gallery), and "Facing Eden: 100
Years of Northern California Landscape Art" (De Young Museum). <br>
&nbsp; &nbsp; &nbsp; Past recipient of awards and fellowships from the National
Endowment for the Arts, Artspace, Yaddo, the Briarcombe Foundation, the
Fund for Poetry, the Poets Foundation, and the American Academy in
Rome, he was Distinguished Paul Mellon Lecturer for 2006 at the
Skowhegan School of Painting and Sculpture in Maine, and was awarded
the 2008 Goldie for Literature from the San Francisco Bay Guardian. <br>
&nbsp;&nbsp;&nbsp;&nbsp; <br>
&nbsp;<br>
<b>Advance praise for <i>Portrait and Dream: New and Selected Poems </i></b><br>
<br>
&#8220;This is a generous selection of work by an important poet of the New
York School. Known for his relationship to the art world, Bill Berkson
writes a critically astute, witty (&#8216;no rest for liquidity&#8217;), and
lyrically present poetry. The push of his work is upward (buoyancy and
spirit) and outward into the real&#8212;an elevator sitting upright in the
snow, ash on the keys. His love poems assert especially what all of his
work knows, that &#8216;the universe reinvents itself ceaselessly.&#8217;With each
new life comes a new language, from the beauty of the everyday to the
skeptical and postmodern. But the purely poetic, as seen in his
wonderful translation of Heine (&#8216;Selfsame source of all love&#8217;s flows&#8212; /
Lily, dove, sun and rose&#8217;) is also present, with its binding force and
knowing glance.&#8221; &#8212;Paul Hoover <br>
<br>
&#8220;I&#8217;d like to thank Bill Berkson for: epitomizing objectivity &amp;
subjectivity; amusedly living in the cerulean blue, alizarin crimson
mixed with titanium white, &amp; burnt sienna world we&#8217;ve got; &amp;
writing for us.&#8221; &#8212;Bernadette Mayer <br>
<br>
&#8220;This is a keeper. A half-century of trenchant observations that never
become cynical, of arcane knowledge (and gossip) neither obscured nor
smug. Music and painting as natural as wind and light. &#8216;Logic can&#8217;t
atone / Except the fun parts&#8217; and &#8216;There is life in scatter yet.&#8217;
Indeed.&#8221; &#8212;Tom Raworth&#8220;<br>
<br>
<br>
<b>On Berkson's poetry:</b><br>
<br>
&#8220;Berkson [makes poetry] by means of a language and a form that are
never what one expects but more exciting and to the point.&#8221; &#8212;Kenneth
Koch <br>
<br>
&#8220;Bill Berkson&#8217;s writing is witty, musical, daily and deep, underpinned
by a bracing integrity and shot through with gorgeous abstraction and
other brilliant hookups between eye, ear, mind and heart.&#8221; &#8212;Ron Padgett
<br>
<br>
&#8220;There was always something of a mythical aura about Berkson, the
collaborator of Frank O&#8217;Hara and one of the chiefs of the New York
School whose friends included painters as well as poets. . . .
Berkson&#8217;s own poetry is subtle and demonstratively abstract in the
manner of, let&#8217;s say, DeKooning: it has an imagistic hardness and
lushness that sweeps aside whatever you might have been thinking
before.&#8221; &#8212;Andrei Codrescu, <i>Exquisite Corpse</i> <br>
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Subject: [Spare Room Press Release] FWD: 3/7, CAConrad and Andrea Murray
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from Jen Coleman:

One of Philly's most talented -- CAConrad -- and one of Portland's most 
talented -- Andrea Murray -- are coming together for one night to 
present poetry, sound art, art-art, and who knows what else. We're 
calling it: Conrandreavaganza!

Please join us. There will be snacks. There will be inspiration. There 
will be Conrad's new book with Frank Sherlock from Factory School: The 
City Real & Imagined. There will be raffle prizes like none you've ever 
won before!

Where: 213 SE 26th Ave, PDX (Home of Jen Coleman & Allison Cobb)
When: March 7, Sunday
Time: Snacks at 6:30, reading at 7 pm.
Who: You, and everyone you care to invite
Bring: Snax and drinks to share, if you like. And $5 suggested donation 
for our traveling artist.

Andrea Murray has spent most of her professional life as an audio 
producer and currently works at a Portland area radio station. She also 
writes, makes art about Frankenstein's Monster and likes carbonated 
beverages.

CAConrad is the recipient of The Gil Ott Book Award for The Book of 
Frank (Chax Press, 2009). He is also the author of Advanced Elvis Course 
(Soft Skull Press, 2009), (Soma)tic Midge (Faux Press, 2008), Deviant 
Propulsion (Soft Skull Press, 2006), and a collaboration with poet Frank 
Sherlock titled The City Real & Imagined (Factory School, 2010). The son 
of white trash asphyxiation, his childhood included selling cut flowers 
along the highway for his mother and helping her shoplift.  Visit him 
online at http://CAConrad.blogspot.com and with his friends at 
http://PhillySound.blogspot.com



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<div class="moz-text-html" lang="x-western">from Jen Coleman:<br>
<br>
One of Philly's most
talented -- CAConrad -- and one of Portland's most talented -- Andrea
Murray -- are coming together for one night to present poetry, sound
art, art-art, and who knows what else. We're calling it:
Conrandreavaganza!<br>
<br>
Please join us. There will be snacks.&nbsp;There will be inspiration.
There will be Conrad's new book with Frank Sherlock from Factory
School: The City Real &amp; Imagined. There will be raffle prizes like
none you've ever won before!<br>
<br>
Where: 213 SE 26th Ave, PDX (Home of Jen Coleman &amp; Allison Cobb)<br>
When: March 7, Sunday<br>
Time: Snacks at 6:30, reading at 7 pm.<br>
Who: You, and everyone you care to invite<br>
Bring: Snax and drinks to share, if you like. And $5 suggested donation
for our traveling artist.<br>
<br>
Andrea Murray has spent most of her professional life as an audio
producer and currently works at a Portland area radio station. She also
writes, makes art about Frankenstein's Monster and likes carbonated
beverages.<br>
<br>
CAConrad is the recipient of The Gil Ott Book Award&nbsp;for The Book of
Frank (Chax Press, 2009). He is also the author of Advanced Elvis
Course (Soft Skull Press, 2009), (Soma)tic Midge (Faux Press, 2008),
Deviant Propulsion (Soft Skull Press, 2006), and a collaboration with
poet Frank Sherlock titled The City Real &amp; Imagined (Factory
School, 2010). The son of white trash asphyxiation, his childhood
included selling cut flowers along the highway for his mother and
helping her shoplift.&nbsp; Visit him online at <a
 href="http://CAConrad.blogspot.com">http://CAConrad.blogspot.com</a>
and with his friends at <a href="http://PhillySound.blogspot.com">http://PhillySound.blogspot.com</a><br>
<br>
<br>
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Subject: [Spare Room Press Release] FWD: Tangent reading 3/13:
	Buffy/Downing/Johanson
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Tangent is pleased to host three exciting poets on Saturday, March 13, 
at 7:00 pm at our usual spot, the Clinton Corner Cafe.

Portland poet Jake Buffy will be making his full-length reading debut; 
New York-based artist Brandon Downing will be screening some new film 
shorts; and Reg Johanson will be joining us all the way from Vancouver, 
BC to perform his new poetry.

Tangent presents:

JAKE BUFFY, BRANDON DOWNING, & REG JOHANSON
 
SATURDAY, MARCH 13 at 7:00 PM

Clinton Corner Cafe, 2633 SE 21st Ave. (@ Clinton)
Admission is free
www.thetangentpress.org/readings.html

*JAKE BUFFY* recently learned that an undergraduate degree in a broken 
economy is a lot like filling a water balloon with a fire hose. He is a 
member of hip-hop collective, Subversive, and a current wage slave for 
New Seasons market. He lives in Portland.

*BRANDON DOWNING * is a New York-based poet, photographer, collagist and 
filmmaker. His books include /The Shirt Weapon/ (Germ Monographs, 2002) 
and /Dark Brandon/ (Faux Press, 2005). His film shorts are hilarious, 
thought-provoking, Bollywood-inflected works, and several of them are 
online at: www.youtube.com/user/bdown68#p/u/0/XuyGgZO8WkU 

*REG JOHANSON* is the co-author, with Roger Farr and Aaron Vidaver, of 
/N 49 19. 47 -- W 123 8. 11 /(PILLS 2008). He is also the author of the 
poetry collection /Courage, My Love/ (Line Books, 2006) and his new 
chapbook is /Escraches/ (Left Hand Press 2010). Critical work on, and an 
interview with, Marie Annharte Baker has appeared in the anthology 
/Antiphonies/ (The Gig, 2008) and in /The Capilano Review/. Work on 
Standard English as a classist and racializing disciplinary practice, 
and on the political economy of "cheating" and plagiarism, has appeared 
in /XCP: Cross Cultural Poetics/ and as "Working Papers in Critical 
Practice #1" (recomposition.net); other essays appear in /West Coast 
Line/ and /The Rain Review/

--------------010009010807080507080303
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit

<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
Tangent is pleased to host three exciting poets on Saturday, March 13,
at 7:00 pm at our usual spot, the Clinton Corner Cafe.<br>
<br>
Portland poet Jake Buffy will be making his full-length reading debut;
New York-based
artist Brandon Downing will be screening some new film shorts; and Reg
Johanson will be joining us all the way from Vancouver, BC to perform
his new poetry. <br>
<br>
Tangent presents:
<br>
<br>
JAKE BUFFY, BRANDON DOWNING, &amp; REG JOHANSON<br>
&nbsp;<br>
SATURDAY, MARCH 13 at 7:00 PM
<br>
<br>
Clinton Corner Cafe, 2633 SE 21st Ave. (@ Clinton)
<br>
Admission is free
<br>
<!-- 0000,0000,EEEC --><a class="moz-txt-link-abbreviated" href="http://www.thetangentpress.org/readings.html">www.thetangentpress.org/readings.html</a>
<br>
<br>
<b>JAKE BUFFY</b> recently learned that an undergraduate degree
in a broken economy is a lot like filling a water balloon with a fire
hose. He is a member of hip-hop collective, Subversive, and a current
wage slave for New Seasons market. He lives in Portland. <br>
<br>
<b>BRANDON DOWNING </b> is a New York-based poet, photographer,
collagist and filmmaker. His books include <i>The Shirt
Weapon</i> (Germ Monographs, 2002) and <i>Dark
Brandon</i><!-- 0000,0000,EEEC --> (Faux Press, 2005). His film shorts
are hilarious,
thought-provoking, Bollywood-inflected works, and several of them are
online at:
<a class="moz-txt-link-abbreviated" href="http://www.youtube.com/user/bdown68#p/u/0/XuyGgZO8WkU">www.youtube.com/user/bdown68#p/u/0/XuyGgZO8WkU</a>&nbsp;
<br>
<br>
<b>REG JOHANSON</b> is the co-author, with Roger Farr and Aaron
Vidaver, of <i>N 49 19. 47 &#8211; W 123 8. 11 </i>(PILLS 2008).
He is also the author of the poetry collection <i>Courage, My
Love</i> (Line Books, 2006) and his new chapbook is
<i>Escraches</i> (Left Hand Press 2010). Critical work on,
and an interview with, Marie Annharte Baker has appeared in the
anthology <i>Antiphonies</i> (The Gig, 2008) and in
<i>The Capilano Review</i>. Work on Standard English as a
classist and racializing disciplinary practice, and on the political
economy of &#8220;cheating&#8221; and plagiarism, has appeared in <i>XCP:
Cross Cultural Poetics</i> and as &#8220;Working Papers in Critical
Practice #1&#8221; (recomposition.net); other essays appear in <i>West
Coast Line</i> and <i>The Rain Review</i>
<br>
</body>
</html>

--------------010009010807080507080303--


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Subject: [Spare Room Press Release] Fri. 3/15: MAC Literary Arts reading
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Multnomah Arts Center Literary Arts Program

    /      /Instructors & students
    /      /    /      past, present, future/

    /      /reading from their work
    /      /    /      poetry, fiction, nonfiction/


    /      /Friday, March 12, 7:00 pm
    /      //          Free admission/


Multnomah Arts Center Gallery
7688 Southwest Capitol Highway
www.multnomahartscenter.org
(503) 823-2787

=============================

Please join us for the first group reading by participants in the 
expanded Literary Arts Program at Multnomah Arts Center. Enjoy short 
pieces and excerpts, and learn about upcoming classes and special summer 
events.

Readers will include:

Richard Enger
Lyssa Tall Anolik
David Abel
Gwen Osborne
Kaia Sand
Gail Simmons
Lola Scobey
Susan Hall
John Hall
Tani Draper
Suzanne Lehman
Amy Minato
Martha McKay
Monica Wheeler
Donna Prinzmetal
Liz Prato


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Multnomah Arts Center Literary Arts Program<br>
<br>
&nbsp;&nbsp; &nbsp;<i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i>Instructors &amp; students<br>
&nbsp;&nbsp; &nbsp;<i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i>&nbsp;&nbsp; &nbsp;<i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; past, present, future</i><br>
<br>
&nbsp;&nbsp; &nbsp;<i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i>reading from their work <br>
&nbsp;&nbsp; &nbsp;<i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i>&nbsp;&nbsp; &nbsp;<i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; poetry, fiction, nonfiction</i><br>
<br>
<br>
&nbsp;&nbsp; &nbsp;<i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i>Friday, March 12, 7:00 pm<br>
&nbsp;&nbsp; &nbsp;<i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i><i>&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Free admission</i><br>
<br>
<br>
Multnomah Arts Center Gallery<br>
7688 Southwest Capitol Highway<br>
<a class="moz-txt-link-abbreviated"
 href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a><br>
(503) 823-2787<br>
<br>
=============================<br>
<br>
Please join us for the first group reading by participants in the
expanded Literary Arts Program at Multnomah Arts Center. Enjoy short
pieces and excerpts, and learn about upcoming classes and special
summer events.<br>
<br>
Readers will include:<br>
<br>
Richard Enger<br>
Lyssa Tall Anolik<br>
David Abel<br>
Gwen Osborne<br>
Kaia Sand<br>
Gail Simmons<br>
Lola Scobey<br>
Susan Hall<br>
John Hall<br>
Tani Draper<br>
Suzanne Lehman<br>
Amy Minato<br>
Martha McKay<br>
Monica Wheeler<br>
Donna Prinzmetal<br>
Liz Prato<br>
<br>
</body>
</html>

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Subject: [Spare Room Press Release] FWD: 3/18,
	Boykoff/Gies presentation on Black Panther Party
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from Martha Gies:

This presentation, which we have been invited to give for the Northwest 
History Network, comes out of a research paper Jules Boykoff and I wrote 
for /Oregon Historical Quarterly/.  Given the fact that our work hasn't 
even been printed yet, we are very pleased to be asked to present. 


The Northwest History Network presents

"We're going to defend ourselves":
The Portland Chapter of the Black Panther Party
& Local Media Response

A presentation by Jules Boykoff & Martha Gies

with special guests Kent Ford & Percy Hampton,
original members of the Portland chapter, Black Panther Party

Thursday, March 18
7:00 pm

Architectural Heritage Center
701 SE Grand Avenue

More information: James at jvhillegas@gmail.com

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from Martha Gies:<br>
<br>
This presentation, which we have been invited to give for the Northwest
History Network,&nbsp;comes out of a research paper Jules Boykoff and I
wrote for <em>Oregon Historical Quarterly</em>.&nbsp; Given the fact that
our work hasn't even been printed yet, we are very pleased to be asked
to present.&nbsp; <br>
<br>
<br>
The Northwest History Network presents<br>
<br>
"We're going to defend ourselves":<br>
The Portland Chapter of the Black Panther Party<br>
&amp; Local Media Response<br>
<br>
A presentation by Jules Boykoff &amp; Martha Gies<br>
<br>
with special guests Kent Ford &amp; Percy Hampton,<br>
original members of the Portland chapter, Black Panther Party<br>
<br>
Thursday, March 18<br>
7:00 pm<br>
<br>
Architectural Heritage Center<br>
701 SE Grand Avenue<br>
<br>
More information: James at <a class="moz-txt-link-abbreviated" href="mailto:jvhillegas@gmail.com">jvhillegas@gmail.com</a>
</body>
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/Three readings this coming weekend -- and one tonight! Here's a compact 
reminder of the lot//./


*CA Conrad & Andrea Murray*
Sunday, March 7, 7:00 pm (snacks at 6:30)
213 SE 26th Ave, PDX (Home of Jen Coleman & Allison Cobb)
$5 suggested donation


*Multnomah Arts Center Literary Arts reading*
Friday, March 12, 7:00 pm
7688 Southwest Capitol Highway
www.multnomahartscenter.org  (503) 823-2787
Free


*Jake Buffy, Brandon Downing, Reg Johanson*
Saturday, March 13, 7:00 pm
Clinton Corner Cafe, 2633 SE 21st Ave. (@ Clinton)  
www.thetangentpress.org/readings.html
Free


*Brandon Downing & Macgregor Card*
Sunday, March 14, 4:00 pm
Powell's Books on Hawthorne
3723 SE Hawthorne Blvd. (800) 878-7323
http://www.powells.com/calendar.html
Free


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<i>Three readings this coming weekend -- and one tonight! Here's a
compact reminder of the lot</i><i>.</i><br>
<br>
<br>
<b>CA Conrad &amp; Andrea Murray</b><br>
Sunday, March 7, 7:00 pm (snacks at 6:30)<br>
213 SE 26th Ave, PDX (Home of Jen Coleman &amp; Allison Cobb)<br>
$5 suggested donation<br>
<br>
<br>
<b>Multnomah Arts Center Literary Arts reading</b><br>
Friday, March 12, 7:00 pm<br>
7688 Southwest Capitol Highway<br>
<a class="moz-txt-link-abbreviated"
 href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a>&nbsp;
(503) 823-2787<br>
Free<br>
<br>
<br>
<b>Jake Buffy, Brandon Downing, Reg Johanson</b><br>
Saturday, March 13, 7:00 pm<br>
Clinton Corner Cafe, 2633 SE 21st Ave. (@ Clinton)
&nbsp;<br>
<!-- 0000,0000,EEEC --><a class="moz-txt-link-abbreviated"
 href="http://www.thetangentpress.org/readings.html">www.thetangentpress.org/readings.html</a><br>
Free<br>
<br>
<br>
<b>Brandon Downing &amp; Macgregor Card</b><br>
Sunday, March 14, 4:00 pm<br>
Powell's Books on Hawthorne<br>
3723 SE Hawthorne Blvd. (800) 878-7323 <br>
<a class="moz-txt-link-freetext" href="http://www.powells.com/calendar.html">http://www.powells.com/calendar.html</a><br>
Free<br>
<br>
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Subject: [Spare Room Press Release] Spring courses, Literary Arts at MAC
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*Spring Courses in the Literary Arts Program at Multnomah Arts Center*

For more information, and to download a complete catalog of spring 
courses: www.multnomahartscenter.org

To register online, with Portland Parks: http://tinyurl.com/yeuv5ao
*

Writing the Short Story*
In this workshop we will study the craft of literary fiction, paying 
attention to voice, tension, character, description, dialogue, and 
narrative arc. Each student will present one short story for workshop. 
We'll read published stories as well, and discuss ways to foster a daily 
commitment to reading and writing. This class supports writers at all 
stages of artistic development.
315970 Mon. 6:30 - 9:00pm
March 29 - June 7 $180 [10 classes]
Ryan Blacketter

*Right Brain Writing*
You don't have to be a writer to produce powerful and imaginative 
creative work. Through a series of
enjoyable, illuminating exercises, right brain energy is channeled into 
the making of creative vignettes, word portraits, poetry, and short 
stories. The right brain's connection to sensation is also explored as 
you learn to make your writing come alive through image, metaphor, 
voice, and surprising language. Dreams, music, painting and poetry are 
used to provide inspiration. Experienced poets and prose writers as well 
as those who have never written before are welcomed.
312445 Mon. 7:00 - 8:30pm
Apr. 5 - May 24 $108 [8 classes]
Donna Prinzmetal

*Writing & Reading Poetry*
In this workshop, we'll look at how poetry works, as writers and as 
readers. We'll write in response to
exercises, and in response to what we read; we'll read closely one 
another's work, and the work of other poets both familiar and not. The 
challenge of reading poetry pays off in two ways: empathy for the 
situation of our readers, and the discovery of new possibilities. Open 
to anyone (beginner or veteran) who writes poetry and wants to deepen 
their understanding of the art.
312441 Tu. 6:30 - 9:00pm
Apr. 20 - Jun. 8 $144 [8 classes]
David Abel

*Memoir Writing: The Literature of Memory*
Memory is not logical or tidy, but it is infinitely interesting. Learn 
how to take the details that make up your life and turn them into 
memoir, poems, or even fiction. We will engage in the free-writing 
process using prompts to trigger and unlock the stories hidden within 
you. We'll address and put aside the inner critic, so that you may 
engage your creative process in a safe and encouraging environment. No 
writing experience necessary. All levels welcome.
312446 Thur. 6:30 - 9:00pm
Apr. 1 - Jun. 3 $180 [10 classes]
Lyssa Tall Anolik

*Creative Writing for Families*
Ages 5 & Up
Want to learn something new about your kids or parents? Every member of 
a family sees their shared experiences differently. Discover each other 
through a new lens while polishing writing skills in a supportive, 
informal atmosphere and learn how to bring writing into your home. In 
this class you might write a collaborative story about a favorite event, 
discover journaling together or on your own, make an activities 
calendar, invent new names and titles for family members, or compose a 
poem describing what makes your family unique. You can sign up for one 
or multiple sessions.
312444 Fri. 6:30 - 8:00pm
Apr. 23 $8 [1 class]
Amy Minato
312443 Sat. 10:00 - 11:30am
Apr. 24 $8 [1 class]
Amy Minato


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<b>Spring Courses in the Literary Arts Program at Multnomah Arts Center</b><br>
<br>
For more information, and to download a complete catalog of spring
courses: <a class="moz-txt-link-abbreviated" href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a><br>
<br>
To register online, with Portland Parks: <a class="moz-txt-link-freetext" href="http://tinyurl.com/yeuv5ao">http://tinyurl.com/yeuv5ao</a><br>
<b><br>
<br>
Writing the Short Story</b><br>
In this workshop we will study the craft of literary fiction, paying
attention to voice, tension, character, description, dialogue, and
narrative arc. Each student will present one short story for workshop.
We&#8217;ll read published stories as well, and discuss ways to foster a
daily commitment to reading and writing. This class supports writers at
all stages of artistic development.<br>
315970 Mon. 6:30 - 9:00pm<br>
March 29 - June 7 $180 [10 classes]<br>
Ryan Blacketter<br>
<br>
<b>Right Brain Writing</b><br>
You don&#8217;t have to be a writer to produce powerful and imaginative
creative work. Through a series of<br>
enjoyable, illuminating exercises, right brain energy is channeled into
the making of creative vignettes, word portraits, poetry, and short
stories. The right brain&#8217;s connection to sensation is also explored as
you learn to make your writing come alive through image, metaphor,
voice, and surprising language. Dreams, music, painting and poetry are
used to provide inspiration. Experienced poets and prose writers as
well as those who have never written before are welcomed.<br>
312445 Mon. 7:00 - 8:30pm<br>
Apr. 5 - May 24 $108 [8 classes]<br>
Donna Prinzmetal<br>
<br>
<b>Writing &amp; Reading Poetry</b><br>
In this workshop, we&#8217;ll look at how poetry works, as writers and as
readers. We&#8217;ll write in response to<br>
exercises, and in response to what we read; we&#8217;ll read closely one
another&#8217;s work, and the work of other poets both familiar and not. The
challenge of reading poetry pays off in two ways: empathy for the
situation of our readers, and the discovery of new possibilities. Open
to anyone (beginner or veteran) who writes poetry and wants to deepen
their understanding of the art.<br>
312441 Tu. 6:30 - 9:00pm<br>
Apr. 20 - Jun. 8 $144 [8 classes]<br>
David Abel<br>
<br>
<b>Memoir Writing: The Literature of Memory</b><br>
Memory is not logical or tidy, but it is infinitely interesting. Learn
how to take the details that make up your life and turn them into
memoir, poems, or even fiction. We will engage in the free-writing
process using prompts to trigger and unlock the stories hidden within
you. We&#8217;ll address and put aside the inner critic, so that you may
engage your creative process in a safe and encouraging environment. No
writing experience necessary. All levels welcome.<br>
312446 Thur. 6:30 - 9:00pm<br>
Apr. 1 - Jun. 3 $180 [10 classes]<br>
Lyssa Tall Anolik<br>
<br>
<b>Creative Writing for Families</b><br>
Ages 5 &amp; Up<br>
Want to learn something new about your kids or parents? Every member of
a family sees their shared experiences differently. Discover each other
through a new lens while polishing writing skills in a supportive,
informal atmosphere and learn how to bring writing into your home. In
this class you might write a collaborative story about a favorite
event, discover journaling together or on your own, make an activities
calendar, invent new names and titles for family members, or compose a
poem describing what makes your family unique. You can sign up for one
or multiple sessions.<br>
312444 Fri. 6:30 - 8:00pm<br>
Apr. 23 $8 [1 class]<br>
Amy Minato<br>
312443 Sat. 10:00 - 11:30am<br>
Apr. 24 $8 [1 class]<br>
Amy Minato<br>
<br>
</body>
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Subject: [Spare Room Press Release] 3/21: Canarium Books reading tour
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Spare Room presents
*
*/Canarium Books reading tour:

/*John Beer, Ish Klein, & Paul Killebrew
**
*Sunday, March 21
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

==================================================
*Upcoming Readings*

April tba: /Ammiel Alcalay & Standard Schaefer/
May 16: /David Wolach, Jen Coleman, & Cara Benson
/June 27: /Deborah Poe & Meredith Blankinship/
July 11: /Jen Tynes & Joseph Bradshaw
/July tba: /Polyvocal Performance Festival
/August 1: /Rob Schlegel & Burt Kimmelman/

==================================================

Established in 2008 and sponsored by the University of Michigan MFA 
Program in Creative Writing, Canarium Books (http://canariumbooks.org) 
is dedicated to publishing poetry by established and emerging authors 
from the United States and abroad. On the Canarium 2010 West Coast 
reading tour, three poets will read from their new books.

John Beer's first book, /The Waste Land and Other Poems/, will be 
published by Canarium Books in April 2010. His work has appeared in 
/Verse, The Brooklyn Rail, Denver Quarterly, Crowd/, and elsewhere, and 
he writes on theater for /Time Out Chicago. The Waste Land and Other 
Poems/ has received rave advance notice from the likes of John Ashbery, 
Kent Johnson, Lewis Warsh, and others; for those blurbs, and links to 
interviews, videos, and more, see John's author page at 
http://canariumbooks.org/#133531/John-Beer

Ish Klein is a self-taught film- and puppetmaker who also writes poems. 
She is an alumna of Columbia University and the Iowa Writer's Workshop 
for Poetry. Her book /Union!/ is titled as a nod to the Soyuz 
spacecraft, used by the Soviets to unite crew members and supplies with 
orbiting space stations. "Soyuz" is Russian for "union." "I, too, am 
interested in linking with everything alive," says Klein. "That's the 
/UNION!/ endeavor." Her poems have been published in /Canary, The Hat, 
/and/ Spork/ magazines. Her short films can be found on the /The Boo! 
Show/ on her YouTube channel.

Paul Killebrew's first book, /Flowers/, will be published by Canarium 
Books in March 2010. His chapbook, /Forget Rita/, was published by the 
Poetry Society of America in 2003, and Ugly Duckling Presse published 
another, /Inspector vs. Evader/, in 2007. John Ashbery has written that 
Paul "plunges us into a world we inhabit but seldom notice, forcing its 
horror on us but also reminding us why we go on coping with it." Born 
and raised in Tennessee, he now lives in Louisiana, where he works as a 
lawyer at Innocence Project New Orleans.


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<div class="moz-text-html" lang="x-western">
<div class="moz-text-html" lang="x-western">
<div class="moz-text-html" lang="x-western">Spare Room presents<br>
<b><br>
</b><i>Canarium Books reading tour:<br>
<br>
</i><b>John Beer, Ish Klein, &amp; Paul Killebrew<br>
</b><b><br>
</b>Sunday, March 21<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
==================================================<br>
<b>Upcoming Readings</b><br>
<br>
April tba: <i>Ammiel Alcalay &amp; Standard Schaefer</i><br>
May 16: <i>David Wolach, Jen Coleman, &amp; Cara Benson<br>
</i>June 27: <i>Deborah Poe &amp; Meredith Blankinship</i><br>
July 11: <i>Jen Tynes &amp; Joseph Bradshaw<br>
</i>July tba: <i>Polyvocal Performance Festival<br>
</i>August 1: <i>Rob Schlegel &amp; Burt Kimmelman</i><br>
<br>
==================================================<br>
<br>
<font face="Times New Roman, Times, serif">Established in 2008 and
sponsored by the University of Michigan MFA Program in Creative
Writing, Canarium Books (<a class="moz-txt-link-freetext"
 href="http://canariumbooks.org">http://canariumbooks.org</a>) is
dedicated to
publishing poetry by established and emerging authors from the United
States and abroad. On the Canarium 2010 West Coast reading tour, three
poets will read from their new books.<br>
<br>
John Beer's first book, <i>The Waste Land and Other Poems</i>, will be
published by Canarium Books in April 2010. His work has appeared in <i>Verse,
The Brooklyn Rail, Denver Quarterly, Crowd</i>, and elsewhere, and he
writes on theater for <i>Time Out Chicago. The Waste Land and Other
Poems</i> has received rave advance notice from the likes of John
Ashbery, Kent Johnson, Lewis Warsh, and others; for those blurbs, and
links to interviews, videos, and more, see John's author page at
<a class="moz-txt-link-freetext"
 href="http://canariumbooks.org/#133531/John-Beer">http://canariumbooks.org/#133531/John-Beer</a><br>
<br>
Ish Klein is a self-taught film- and puppetmaker who also writes poems.
She is an alumna of Columbia University and the Iowa Writer's Workshop
for Poetry. Her book <i>Union!</i> is titled as a nod to the Soyuz
spacecraft, used by the Soviets to unite crew members and supplies with
orbiting space stations. "Soyuz" is Russian for "union." "I, too, am
interested in linking with everything alive," says Klein. "That's the <i>UNION!</i>
endeavor." Her poems have been published in <i>Canary, The Hat, </i>and<i>
Spork</i> magazines. Her short films can be found on the <i>The Boo!
Show</i> on her YouTube channel.<br>
<br>
Paul Killebrew&#8217;s first book, <i>Flowers</i>, will be published by
Canarium Books in March 2010. His chapbook, <i>Forget Rita</i>, was
published by the Poetry Society of America in 2003, and Ugly Duckling
Presse published another, <i>Inspector vs. Evader</i>, in 2007. John
Ashbery has written that Paul &#8220;plunges us into a world we inhabit but
seldom notice, forcing its horror on us but also reminding us why we go
on coping with it.&#8221; Born and raised in Tennessee, he now lives in
Louisiana, where he works as a lawyer at Innocence Project New Orleans.</font><br>
<br>
</div>
</div>
</div>
</body>
</html>

--------------030903000000050805090209--


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If Not For Kidnap Poetry presents

David Abel
Dean Gorman
Narwal Creative Music Ensemble

*Tuesday, March 30*
7:30 pm

3968 SE Mall St., Apt A
http://ifnotforkidnappoetry.blogspot.com/


A living room poetry reading series generally on the last Tuesday of 
every month,
curated by Donald Dunbar and Jamalieh Haley

Everyone is welcome. We "begin" at 7:30 which means that's about when 
you want to be showing up, but we know you, you're late to everything! 
Some beer provided, but please bring really anything to share -- drinks, 
food, fliers, business cards, etc., money for our donation jar, etc. -- 
and don't be shy about introducing yourself.


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If Not For Kidnap Poetry presents<br>
<br>
David Abel<br>
Dean Gorman<br>
Narwal Creative Music Ensemble<br>
<br>
<b>Tuesday, March 30</b><br>
7:30 pm<br>
<br>
3968 SE Mall St., Apt A<br>
<a class="moz-txt-link-freetext" href="http://ifnotforkidnappoetry.blogspot.com/">http://ifnotforkidnappoetry.blogspot.com/</a><br>
<br>
<br>
A living room poetry reading series generally on the last Tuesday of
every month,<br>
curated by Donald Dunbar and Jamalieh Haley<br>
<br>
Everyone is welcome. We "begin" at 7:30 which means that's about when
you want to be showing up, but we know you, you're late to everything!
Some beer provided, but please bring really anything to share --
drinks, food, fliers, business cards, etc., money for our donation jar,
etc. -- and don't be shy about introducing yourself.<br>
<br>
</body>
</html>

--------------080103090609070309050604--


From passages@rdrop.com Mon Mar 29 20:57:48 2010
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Performance Works NorthWest presents...

Alembic #9: 
*Organizam: A Mutant Cabaret of Non Acts*

*April 2-3, 2010*
*8:00 pm*

Performance Works NorthWest
4625 NE 67th Ave
www.performanceworksnw.org

Tickets: $10 - $15 sliding scale
Reserve at 503-777-1907 or boxofficetickets.com

A weekend of humor-based, conceptual, nondramatic events informed by 
experimental traditions such as Dada, Situationism, and Fluxus. Two 
nights blending words, laughs, music, dancing, props, concepts, video, 
(non-) acting, games, sounds, implosions, with live humans.

(Caution! Both evenings are officially withdrawn by the Ministry in 
Defense of the Demagnetic Counter-board.)

*John Berendzen
Tony Christy
James Yeary, Justin Smith, & Jeff Diteman
Maryrose Larkin, Eric Matchett, & Jake Anderson
Anna Daedalus & Leo Daedalus*
*John Berendzen, kollodi nishimoto norton, & Alex P. Reagan
David Abel
J.A. Lee
Crag Hill
Linda Austin*

Curated by Marko Whens


ALEMBIC is an ongoing series of performative events at Performance Works 
North West curated by guest artists from the worlds of dance, theater, 
visual and media arts. This program is supported in part by a grant from 
the Multnomah County Cultural Coalition/Oregon Cultural Trust.

 
BIOS

*Marko Whens* has been an active member of Portland's experimental 
poetry community for 8 years. He has curated wild cabarets and sound 
poetry festivals. He has also performed, read and exhibited his work 
around the globe.

*Leo Daedalus* (born September 2, 1986 in Algiers) is an Algerian 
footballer who currently plays for C.D. Nacional in the Portuguese first 
division, as a central defender. Daedalus made his debut for Algeria on 
May 31, 2008 against Senegal, coming as a substitute for Anthar Yahia in 
the 75th minute. This biography of an Alembic participant is a stub. You 
can help by expanding it. *Anna Daedalus* (born 4 September 1937) is an 
Australian champion swimmer. She is one of only two swimmers to win the 
same Olympic event three times, in her case, the 100 meters 
freestyle.Within Australia, she is known for her controversial behaviour 
and larrikin character as much as for her athletic ability. Daedalus was 
spotted at the early age of 14 by Sydney coach Harry Gallagher swimming 
at the local sea baths.

*J. A. Lee* is the real name of a fictitious personage in Albuquerque, 
New Mexico.

*Tony Christy*: Vivanteeeeeeeeeeeeeeeeee! I'm alive

*Jeff Diteman* has, since an early age, been winning arm-wrestling 
challenges against much larger men. His previous collaborations include 
a noise pop duo with the ghost of Antonin Dvorak via the Romanian medium 
Tania Vadilomenez.
*James Yeary*'s 2004 piece "[sandbox]" covers a square mile of the 
Mariana Trench & was recently purchased by a parent company of Disney. 
*Justin Smith*'s entire musical career is a misunderstanding caused by 
broken equipment and epileptic seizures.

In this decade *Crag Hill *is Crg Hill. Next decade he will be Cg Hill, 
then g Hill, then Hill, then, if he continues to live and prosper, he 
will become ill for a decade, then ll, then l, ending the last decade of 
his life without a name, the sound poem of his life complete. As long as 
he has a name though, he is editing The Last Vispo Anthology, a    major 
international anthology of visual poetry, with Nico Vassilakis who has 
more letters in his name than decades to live.

Since she's been cheated of martyrdom, *Maryrose Larkin* imitates the 
anchorites by building hermatiges in her garden. *Eric Matchett* likes 
to listen to and make wib ib wobba de ding tang and read Milarepa while 
drinking cups really early. *Jake Anderson* learned to play the Language 
Master at the feet of his Iowan grandfather Cledis, who found that hogs 
delighted to the non-instrument's magnetic squeals. Cledis went on to 
become a fixture on the Lawrence Welk Show -- surely you remember those 
gleaming teeth! Jake and Eric play nuclear champagne music as Activity 
Universal Associates.

*David Abel* had been born. It was this signal from the line to the 
school, read books, piaulement the era. Nuovo Yorkauto, being of a 
method of the student, was occors, this Preferisce the books, this one 
receives it around or had diverse times happened consecutively. Of this 
ambiguous line and sad Abel, some whole poetries of the bosquejos, 
admirablly.

*Marko Whens* was raised by participles like "in Chicago." When taking 
naps, he dreams of becoming his own alphabet.

*John Berendzen* (born Stefani Joanne Angelina Germanotta) began 
performing in the rock music scene of New York City's Lower East Side. 
*kollodi nishimoto norton* has had drastic effects on nuclear properties 
but negligible effects on chemical properties. Traditionally Kollodi is 
played on stage by an adult woman. *Alex P. Reagan* is single and 
currently located entirely within the U.S.

*Linda Austin* is a contrarian grammarian. Her participles dangle, 
wangle, squirm, quiver and leap.


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Performance Works NorthWest presents...<br>
<br>
Alembic #9:&nbsp; <br>
<b>Organizam: A Mutant Cabaret of Non Acts</b><br>
<br>
<b>April 2-3, 2010</b><br>
<b>8:00 pm</b><br>
<br>
Performance Works NorthWest<br>
4625 NE 67th Ave<br>
<a class="moz-txt-link-abbreviated"
 href="http://www.performanceworksnw.org">www.performanceworksnw.org</a><br>
<br>
Tickets: $10 - $15 sliding scale<br>
Reserve at 503-777-1907 or boxofficetickets.com<br>
<br>
A weekend of humor-based, conceptual, nondramatic events informed by
experimental traditions such as Dada, Situationism, and Fluxus. Two
nights blending words, laughs, music, dancing, props, concepts, video,
(non-) acting, games, sounds, implosions, with live humans.<br>
<br>
(Caution! Both evenings are officially withdrawn by the Ministry in
Defense of the Demagnetic Counter-board.)<br>
<br>
<b>John Berendzen <br>
Tony Christy <br>
James Yeary, Justin Smith, &amp; Jeff Diteman<br>
Maryrose Larkin, Eric Matchett, &amp; Jake Anderson <br>
Anna Daedalus &amp; Leo Daedalu<font size="3"><font
 face="Times New Roman, Times, serif">s</font></font><big><big><big><font
 class="Apple-style-span" face="Times New Roman, Times, serif" size="3"><big><big><big><span
 class="Apple-style-span" style="font-size: 12px;"></span></big></big></big></font></big></big></big></b><span
 style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><font
 size="3"><span style="font-size: 12px;"><br>
</span></font></span><b>John Berendzen, kollodi nishimoto norton, &amp;
Alex P. Reagan<br>
David Abel <br>
J.A. Lee <br>
Crag Hill<br>
Linda Austin</b><br>
<br>
Curated by Marko Whens<br>
<br>
<br>
ALEMBIC is an ongoing series of performative events at Performance
Works North West curated by guest artists from the worlds of dance,
theater, visual and media arts. This program is supported in part by a
grant from the Multnomah County Cultural Coalition/Oregon Cultural
Trust.<br>
<br>
&nbsp;<br>
BIOS<br>
<br>
<b>Marko Whens</b> has been an active member of Portland's experimental
poetry community for 8 years. He has curated wild cabarets and sound
poetry festivals. He has also performed, read and exhibited his work
around the globe.<br>
<br>
<b>Leo Daedalus</b> (born September 2, 1986 in Algiers) is an Algerian
footballer who currently plays for C.D. Nacional in the Portuguese
first division, as a central defender. Daedalus made his debut for
Algeria on May 31, 2008 against Senegal, coming as a substitute for
Anthar Yahia in the 75th minute. This biography of an Alembic
participant is a stub. You can help by expanding it. <b>Anna Daedalus</b>
(born 4 September 1937) is an Australian champion swimmer. She is one
of only two swimmers to win the same Olympic event three times, in her
case, the 100 meters freestyle.Within Australia, she is known for her
controversial behaviour and larrikin character as much as for her
athletic ability. Daedalus was spotted at the early age of 14 by Sydney
coach Harry Gallagher swimming at the local sea baths.<br>
<br>
<b>J. A. Lee</b> is the real name of a fictitious personage in
Albuquerque, New Mexico.<br>
<br>
<b>Tony Christy</b>: Vivanteeeeeeeeeeeeeeeeee! I'm alive<br>
<br>
<b>Jeff Diteman</b> has, since an early age, been winning arm-wrestling
challenges against much larger men. His previous collaborations include
a noise pop duo with the ghost of Antonin Dvorak via the Romanian
medium Tania Vadilomenez.<br>
<b>James Yeary</b>'s 2004 piece "[sandbox]" covers a square mile of the
Mariana Trench &amp; was recently purchased by a parent company of
Disney. <b>Justin Smith</b>'s entire musical career is a
misunderstanding caused by broken equipment and epileptic seizures.<br>
<br>
In this decade <b>Crag Hill </b>is Crg Hill. Next decade he will be
Cg Hill, then g Hill, then Hill, then, if he continues to live and
prosper, he will become ill for a decade, then ll, then l, ending the
last decade of his life without a name, the sound poem of his life
complete. As long as he has a name though, he is editing The Last Vispo
Anthology, a&nbsp;&nbsp;&nbsp; major international anthology of visual poetry, with
Nico Vassilakis who has more letters in his name than decades to live.<br>
<br>
Since she's been cheated of martyrdom, <b>Maryrose Larkin</b> imitates
the anchorites by building hermatiges in her garden. <b>Eric Matchett</b>
likes to listen to and make wib ib wobba de ding tang and read Milarepa
while drinking cups really early. <b>Jake Anderson</b> learned to play
the Language Master at the feet of his Iowan grandfather Cledis, who
found that hogs delighted to the non-instrument's magnetic squeals.
Cledis went on to become a fixture on the Lawrence Welk Show -- surely
you remember those gleaming teeth! Jake and Eric play nuclear champagne
music as Activity Universal Associates.<br>
<br>
<b>David Abel</b> had been born. It was this signal from the line to
the school, read books, piaulement the era. Nuovo Yorkauto, being of a
method of the student, was occors, this Preferisce the books, this one
receives it around or had diverse times happened consecutively. Of this
ambiguous line and sad Abel, some whole poetries of the bosquejos,
admirablly.<br>
<br>
<b>Marko Whens</b> was raised by participles like "in Chicago." When
taking naps, he dreams of becoming his own alphabet.<br>
<br>
<b>John Berendzen</b> (born Stefani Joanne Angelina Germanotta) began
performing in the rock music scene of New York City's Lower East Side. <b>kollodi
nishimoto norton</b> has had drastic effects on nuclear properties but
negligible effects on chemical properties. Traditionally Kollodi is
played on stage by an adult woman. <b>Alex P. Reagan</b> is single and
currently located entirely within the U.S.<br>
<br>
<b>Linda Austin</b> is a contrarian grammarian. Her participles dangle,
wangle, squirm, quiver and leap.<br>
<br>
</body>
</html>

--------------020102030001070604060302--


From passages@rdrop.com Tue Mar 30 12:05:29 2010
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*Spring Courses in the Literary Arts Program at Multnomah Arts Center*

Spaces still available in all courses, though some are nearly full. 
(Note: /Writing the Short Story/ will begin one week later than 
previously advertised, and run for nine weeks rather than ten.)

For more information, and to download a complete catalog of spring 
courses: www.multnomahartscenter.org

To register online, with Portland Parks: http://tinyurl.com/yeuv5ao
*

Writing the Short Story*
In this workshop we will study the craft of literary fiction, paying 
attention to voice, tension, character, description, dialogue, and 
narrative arc. Each student will present one short story for workshop. 
We'll read published stories as well, and discuss ways to foster a daily 
commitment to reading and writing. This class supports writers at all 
stages of artistic development.
315970 Mon. 6:30 - 9:00pm
April 5 - June 7 $162 [9 classes]
Ryan Blacketter

*Right Brain Writing*
You don't have to be a writer to produce powerful and imaginative 
creative work. Through a series of
enjoyable, illuminating exercises, right brain energy is channeled into 
the making of creative vignettes, word portraits, poetry, and short 
stories. The right brain's connection to sensation is also explored as 
you learn to make your writing come alive through image, metaphor, 
voice, and surprising language. Dreams, music, painting and poetry are 
used to provide inspiration. Experienced poets and prose writers as well 
as those who have never written before are welcomed.
312445 Mon. 7:00 - 8:30pm
Apr. 5 - May 24 $108 [8 classes]
Donna Prinzmetal

*Writing & Reading Poetry*
In this workshop, we'll look at how poetry works, as writers and as 
readers. We'll write in response to
exercises, and in response to what we read; we'll read closely one 
another's work, and the work of other poets both familiar and not. The 
challenge of reading poetry pays off in two ways: empathy for the 
situation of our readers, and the discovery of new possibilities. Open 
to anyone (beginner or veteran) who writes poetry and wants to deepen 
their understanding of the art.
312441 Tu. 6:30 - 9:00pm
Apr. 20 - Jun. 8 $144 [8 classes]
David Abel

*Memoir Writing: The Literature of Memory*
Memory is not logical or tidy, but it is infinitely interesting. Learn 
how to take the details that make up your life and turn them into 
memoir, poems, or even fiction. We will engage in the free-writing 
process using prompts to trigger and unlock the stories hidden within 
you. We'll address and put aside the inner critic, so that you may 
engage your creative process in a safe and encouraging environment. No 
writing experience necessary. All levels welcome.
312446 Thur. 6:30 - 9:00pm
Apr. 1 - Jun. 3 $180 [10 classes]
Lyssa Tall Anolik

*Creative Writing for Families*
Ages 5 & Up
Want to learn something new about your kids or parents? Every member of 
a family sees their shared experiences differently. Discover each other 
through a new lens while polishing writing skills in a supportive, 
informal atmosphere and learn how to bring writing into your home. In 
this class you might write a collaborative story about a favorite event, 
discover journaling together or on your own, make an activities 
calendar, invent new names and titles for family members, or compose a 
poem describing what makes your family unique. You can sign up for one 
or multiple sessions.
312444 Fri. 6:30 - 8:00pm
Apr. 23 $8 [1 class]
Amy Minato
312443 Sat. 10:00 - 11:30am
Apr. 24 $8 [1 class]
Amy Minato

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<div class="moz-text-html" lang="x-western">
<b>Spring Courses in the Literary Arts Program at Multnomah Arts Center</b><br>
<br>
Spaces still available in all courses, though some are nearly full.
(Note: <i>Writing the Short Story</i> will begin one week later than
previously advertised, and run for nine weeks rather than ten.)<br>
<br>
For more information, and to download a complete catalog of spring
courses: <a class="moz-txt-link-abbreviated"
 href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a><br>
<br>
To register online, with Portland Parks: <a
 class="moz-txt-link-freetext" href="http://tinyurl.com/yeuv5ao">http://tinyurl.com/yeuv5ao</a><br>
<b><br>
<br>
Writing the Short Story</b><br>
In this workshop we will study the craft of literary fiction, paying
attention to voice, tension, character, description, dialogue, and
narrative arc. Each student will present one short story for workshop.
We&#8217;ll read published stories as well, and discuss ways to foster a
daily commitment to reading and writing. This class supports writers at
all stages of artistic development.<br>
315970 Mon. 6:30 - 9:00pm<br>
April 5 - June 7 $162 [9 classes]<br>
Ryan Blacketter<br>
<br>
<b>Right Brain Writing</b><br>
You don&#8217;t have to be a writer to produce powerful and imaginative
creative work. Through a series of<br>
enjoyable, illuminating exercises, right brain energy is channeled into
the making of creative vignettes, word portraits, poetry, and short
stories. The right brain&#8217;s connection to sensation is also explored as
you learn to make your writing come alive through image, metaphor,
voice, and surprising language. Dreams, music, painting and poetry are
used to provide inspiration. Experienced poets and prose writers as
well as those who have never written before are welcomed.<br>
312445 Mon. 7:00 - 8:30pm<br>
Apr. 5 - May 24 $108 [8 classes]<br>
Donna Prinzmetal<br>
<br>
<b>Writing &amp; Reading Poetry</b><br>
In this workshop, we&#8217;ll look at how poetry works, as writers and as
readers. We&#8217;ll write in response to<br>
exercises, and in response to what we read; we&#8217;ll read closely one
another&#8217;s work, and the work of other poets both familiar and not. The
challenge of reading poetry pays off in two ways: empathy for the
situation of our readers, and the discovery of new possibilities. Open
to anyone (beginner or veteran) who writes poetry and wants to deepen
their understanding of the art.<br>
312441 Tu. 6:30 - 9:00pm<br>
Apr. 20 - Jun. 8 $144 [8 classes]<br>
David Abel<br>
<br>
<b>Memoir Writing: The Literature of Memory</b><br>
Memory is not logical or tidy, but it is infinitely interesting. Learn
how to take the details that make up your life and turn them into
memoir, poems, or even fiction. We will engage in the free-writing
process using prompts to trigger and unlock the stories hidden within
you. We&#8217;ll address and put aside the inner critic, so that you may
engage your creative process in a safe and encouraging environment. No
writing experience necessary. All levels welcome.<br>
312446 Thur. 6:30 - 9:00pm<br>
Apr. 1 - Jun. 3 $180 [10 classes]<br>
Lyssa Tall Anolik<br>
<br>
<b>Creative Writing for Families</b><br>
Ages 5 &amp; Up<br>
Want to learn something new about your kids or parents? Every member of
a family sees their shared experiences differently. Discover each other
through a new lens while polishing writing skills in a supportive,
informal atmosphere and learn how to bring writing into your home. In
this class you might write a collaborative story about a favorite
event, discover journaling together or on your own, make an activities
calendar, invent new names and titles for family members, or compose a
poem describing what makes your family unique. You can sign up for one
or multiple sessions.<br>
312444 Fri. 6:30 - 8:00pm<br>
Apr. 23 $8 [1 class]<br>
Amy Minato<br>
312443 Sat. 10:00 - 11:30am<br>
Apr. 24 $8 [1 class]<br>
Amy Minato</div>
</body>
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--------------040507010504000102060202--


From passages@rdrop.com Wed Mar 31 03:02:24 2010
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from Tim Shaner:


A New Poetry @ DIVA presents


Kit Robinson, Jen Tynes, and Ce Rosenow
 
Saturday, April 3, 7:30 PM


DIVA (Downtown Initiative for the Visual Arts)
110 W. Broadway
Eugene, Oregon
541.344.3482
www.divacenter.org
 

*Kit Robinson* has been active as a poet, teacher, curator, and 
performer on the San Francisco Bay Area poetry scene for 30 years. 
Associated with the Language poetry movement, he has published many 
books of poetry, most recently /The Messianic Trees: Selected //Poems/ 
/1976-2003./ He has received awards from the National Endowment for the 
Arts, the California Arts Council, and the Fund for Poetry. He lives in 
Berkeley and works in the information technology industry.
* *
*Jen Tynes* lives in Denver, Colorado and edits horse less press. She is 
the author of /Found in Nature/ (horse less press 2004), /The/ /End Of 
Rude Handles/ (Red Morning Press 2005), /The Ohio System/, with Erika 
Howsare (Octopus Books 2006), /See Also Electric Light/ (Dancing Girl 
Press 2007), and /Heron/Girlfriend/ (Coconut Books, forthcoming 2008).
 
*Ce Rosenow*, a native of the Pacific Northwest, was born in Tacoma, 
Washington and currently lives in Eugene, Oregon. She has published 
articles, essay, interviews, poems, reviews, and translations in 
journals and anthologies across the U.S. and abroad. Along with her new 
book /Pacific/ (Mountain Gate Press 2009), her books and chapbooks 
include /The Backs of Angels/, /Even If/, /North// Lake/, and /A Year 
Longer/. The former co-editor of /Northwest Literary Forum/ and 
/Portlandia Review of Books/, for the past two years she has served as 
Oregon Regional Coordinator for the Haiku Society of America. She also 
is the publisher of Mountains and Rivers Press.
 
 

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<font face="Times New Roman">from Tim Shaner:<br>
</font><br>
<font face="Times New Roman"><br>
A New Poetry @ DIVA presents <br style="">
<br style="">
</font><br>
<font face="Times New Roman">Kit Robinson, Jen Tynes, and Ce Rosenow</font>
<br>
<o:p><font face="Times New Roman">&nbsp;</font></o:p>
<br>
<font face="Times New Roman">Saturday, April 3, 7:30 PM <br style="">
<br style="">
</font><br>
<font face="Times New Roman">DIVA (Downtown Initiative for the Visual
Arts)</font>
<br>
<font face="Times New Roman">110 W. Broadway</font>
<br>
<st1:place w:st="on"><font face="Times New Roman"><st1:city w:st="on">Eugene</st1:city>,
<st1:state w:st="on">Oregon</st1:state></font></st1:place>
<br>
<font face="Times New Roman">541.344.3482</font>
<br>
<font face="Times New Roman"><a class="moz-txt-link-abbreviated" href="http://www.divacenter.org">www.divacenter.org</a></font>
<br>
<o:p><font face="Times New Roman">&nbsp;</font></o:p>
<br>
<br>
<font face="Times New Roman"><b style=""><span style="font-size: 11pt;">Kit
Robinson</span></b><span style="font-size: 11pt;">
has been active as a poet, teacher, curator, and performer on the San
Francisco Bay Area poetry scene for 30 years. Associated with the
Language poetry movement, he has published many books of
poetry, most recently <i style="">The Messianic Trees: Selected </i></span></font><font
 face="Times New Roman"><span style="font-size: 11pt;"><i style="">Poems</i>
</span></font><font face="Times New Roman"><span
 style="font-size: 11pt;"><i style="">1976-2003.</i>
He has received awards from the National Endowment for the Arts, the
California Arts Council, and the Fund for Poetry. He lives in <st1:place
 w:st="on"><st1:city w:st="on">Berkeley</st1:city></st1:place> and
works in the information technology industry.<o:p></o:p></span></font>
<br>
<b><span style="font-size: 11pt;"><o:p><font face="Times New Roman">&nbsp;</font></o:p></span></b>
<br>
<font face="Times New Roman"><b><span style="font-size: 11pt;">Jen Tynes</span></b><span
 style="font-size: 11pt;"> lives in <st1:place w:st="on"><st1:city
 w:st="on">Denver</st1:city>, <st1:state w:st="on">Colorado</st1:state></st1:place>
and edits horse less press. She is the author of <i>Found in Nature</i>
(horse less press 2004), <i>The</i> <i>End Of Rude Handles</i> (Red
Morning Press 2005), <i>The Ohio System</i>, with Erika Howsare
(Octopus Books 2006), <i>See Also Electric Light</i> (Dancing Girl
Press 2007), and <i>Heron/Girlfriend</i> (Coconut Books, forthcoming
2008).<o:p></o:p></span></font>
<br>
<span style="font-size: 11pt;"><o:p><font face="Times New Roman">&nbsp;</font></o:p></span>
<br>
<font face="Times New Roman"><b style=""><span style="font-size: 11pt;">Ce
Rosenow</span></b><span style="font-size: 11pt;">, a native of the
Pacific Northwest, was born in <st1:city w:st="on">Tacoma</st1:city>, <st1:state
 w:st="on">Washington</st1:state> and currently lives in <st1:place
 w:st="on"><st1:city w:st="on">Eugene</st1:city>, <st1:state w:st="on">Oregon</st1:state></st1:place>.
She has published articles, essay, interviews, poems, reviews, and
translations in journals and anthologies across the <st1:country-region
 w:st="on"><st1:place w:st="on">U.S.</st1:place></st1:country-region>
and abroad. Along with her new book <i style="">Pacific</i></span>
(Mountain Gate Press 2009), her books and chapbooks include <i style="">The
Backs of Angels</i>, <i style="">Even If</i>, <st1:place w:st="on"><st1:placename
 w:st="on"><i style="">North</i></st1:placename><i style=""> <st1:placetype
 w:st="on">Lake</st1:placetype></i></st1:place>, and <i style="">A
Year Longer</i>. The former co-editor of <i style="">Northwest
Literary Forum</i> and <i style="">Portlandia Review of Books</i>,
for the past two years she has served as Oregon Regional Coordinator
for the Haiku Society of America. She also is the publisher of <span
 style="font-size: 11pt;">Mountains and Rivers Press.</span></font>
<br>
<o:p><font face="Times New Roman">&nbsp;</font></o:p>
<br>
&nbsp;
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Save the date!

Please forward to anyone you think might be interested.


Passages Bookshop Trunk Sale

Sunday, May 2
10:00 am - 6:00 pm

23 Sandy Gallery
623 NE 23rd Avenue
Portland, OR 97232
503-927-4409
www.23sandy.com

For one day only, we're emptying out the flat file and bringing to 23 
Sandy Gallery a selection of artist’s books, fine printing, broadsides, 
books on typography and book arts, and art and photography monographs 
and exhibition cataloges.

Most items are long out of print and hard to find, including books by 
and about such artists and presses as Ken Campbell, Red Ozier, Walter 
Hamady and the Perishable Press, Rampant Lions, Whittington, Harry 
Duncan, Nexus, Granary Books, Katherine Kuehn and Salient Seedling 
Press, Landlocked Press, Black Mesa/Chax, and many others.

Many thanks to Laura Russell of 23 Sandy for hosting this event.



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Spare Room presents an evening of collaborative works:*

Jon Cotner & Andy Fitch */(with a special guest)/*
James Yeary & Nate Orton
**
*Wednesday, April 21
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

==================================================
*Upcoming Readings*

postponed, date tba: /Ammiel Alcalay & Standard Schaefer/

May 16: /David Wolach, Jen Coleman, & Cara Benson
/June 27: /Deborah Poe & Meredith Blankinship/
July 11: /Jen Tynes & Joseph Bradshaw
/July tba: /Polyvocal Performance Festival
/August 1: /Rob Schlegel & Burt Kimmelman/

==================================================

*Jon Cotner* and *Andy Fitch* are the authors of /Ten Walks/Two Talks/ 
(Ugly Duckling Presse, 2010), a book that Time Out New York describes 
as "philosophical, formally innovative and fascinating."
     /"Ten Walks/Two Talks/ updates the meandering and meditative form 
of Basho's travel diaries. Mapping 21st-century New York, Cotner and 
Fitch tap their predecessor's collaborative tendencies in order to 
construct a descriptive/dialogic fugue. The book combines a series of 
sixty-minute, sixty-sentence walks around Manhattan and a pair of 
dialogues about walking---one of which takes place during a late-night 
'philosophical' ramble through Central Park." (uglyducklingpresse.org)
     Cotner and Fitch have performed their dialogic improvisations 
across the country, as well as in Toronto and Berlin. They co-edited the 
1036-page digital anthology /Interdisciplinary Transcriptions/; other 
publications where their work has appeared include /Animal Shelter/ 
(Semiotext(e)), /Brooklyn Rail, Denver Quarterly, Electric Literature, 
LIT, n+1, /and/ UbuWeb/.
     "Improvisations 2006-2010," the March 2010 issue of the audio 
journal /textsound /(textsound.org)/,/ contains 8+ hours of solo and 
collaborative mp3s by Cotner and Fitch.
     *Jon Cotner *lives in New York City. *Andy Fitch* is an assistant 
professor in the University of Wyoming's MFA Program.

As an experiment in the expansion of their pleine-aire zine serial /My 
Day/, *James Yeary* and *Nate Orton *will perform the entirety of their 
three-part /My Day Walking Across Portland/, with "live" drawing from 
the books, & a live reading.
     After producing /My Day On The Max/, the first installment of what 
would become the serial, Nate began inviting friends to collaborate. 
James first joined him for /My Night At Chopsticks/ (a  karaoke bar) on 
the night of George W. Bush's 2007 State of the Union address. To date, 
they have released nearly a dozen issues of the serial, including /My 
Day Walking Across Portland/, /My Day On Swan Island/, and /My Day In On 
& Under the Burnside Bridge/. Current issues of /My Day/ can usually be 
obtained at Reading Frenzy and Powell's in Portland, or by emailing 
nathanorton@hotmail.com.
*     Nate Orton* is a Portland-based visual artist who primarily works 
on large-scale drawings and paintings. His artwork as well as showing 
dates can be viewed at nateorton.com.
*     James Yeary* is a Portland-based poet, member of the Spare Room 
Collective, and a minister (he does weddings and funerals). You can keep 
up with his literary activities at catabolicguiltcalendar.blogspot.com 
and his priestly duties at ordinarychurch.blogspot.com.

*
*


--------------070802050404000909010703
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Content-Transfer-Encoding: 7bit

<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
Spare Room presents an evening of collaborative works:<b><br>
<br>
Jon Cotner &amp; Andy Fitch </b><i>(with a special guest)</i><b><br>
James Yeary &amp; Nate Orton<br>
</b><b><br>
</b>Wednesday, April 21<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
==================================================<br>
<b>Upcoming Readings</b><br>
<br>
postponed, date tba: <i>Ammiel Alcalay &amp; Standard Schaefer</i><br>
<br>
May 16: <i>David Wolach, Jen Coleman, &amp; Cara Benson<br>
</i>June 27: <i>Deborah Poe &amp; Meredith Blankinship</i><br>
July 11: <i>Jen Tynes &amp; Joseph Bradshaw<br>
</i>July tba: <i>Polyvocal Performance Festival<br>
</i>August 1: <i>Rob Schlegel &amp; Burt Kimmelman</i><br>
<br>
==================================================<br>
<br>
<div><b>Jon Cotner</b> and <b>Andy Fitch</b> are the authors of <i>Ten
Walks/Two
Talks</i><span class="Apple-style-span" style="font-style: italic;">
</span>(Ugly Duckling Presse, 2010), a book that&nbsp;<span
 class="Apple-style-span" style="font-style: italic;">Time Out New York
</span>describes
as&nbsp;"philosophical, formally innovative and fascinating." <br>
&nbsp;&nbsp;&nbsp;&nbsp; <i>"Ten Walks/Two Talks</i> updates the meandering and meditative
form of Basho&#8217;s travel diaries. Mapping 21st-century New York, Cotner
and Fitch tap their predecessor&#8217;s collaborative tendencies in order to
construct a descriptive/dialogic fugue. The book combines a series of
sixty-minute, sixty-sentence walks around Manhattan and a pair of
dialogues about walking&#8212;one of which takes place during a late-night
'philosophical' ramble through Central Park." (uglyducklingpresse.org)<br>
&nbsp;&nbsp;&nbsp;&nbsp; Cotner and
Fitch have performed their dialogic improvisations across the country,
as well as in Toronto and Berlin. They co-edited the 1036-page digital
anthology <i>Interdisciplinary Transcriptions</i>; other publications
where their work has appeared include <i>Animal Shelter</i>
(Semiotext(e)), <i>Brooklyn Rail, Denver Quarterly, Electric
Literature, LIT, n+1, </i>and<i> UbuWeb</i>.<br>
&nbsp;&nbsp;&nbsp;&nbsp; "Improvisations 2006-2010," the March
2010 issue of the audio journal <i>textsound </i>(textsound.org)<i>,</i>
contains
8+ hours of solo and collaborative mp3s by Cotner and Fitch. <br>
&nbsp;&nbsp;&nbsp;&nbsp; <b>Jon Cotner
</b>lives in New York City. <b>Andy Fitch</b> is an assistant
professor in the
University of Wyoming's MFA Program.</div>
<br>
As an experiment in the expansion of their pleine-aire zine serial <i>My
Day</i>, <b>James Yeary</b> and <b>Nate Orton </b>will perform the
entirety of their three-part <i>My Day Walking Across Portland</i>,
with "live" drawing from the books, &amp; a live reading.<br>
&nbsp;&nbsp;&nbsp;&nbsp; After producing <i>My Day On The Max</i>, the first installment
of what would become the serial, Nate began inviting friends to
collaborate. James first joined him for <i>My Night At Chopsticks</i>
(a&nbsp; karaoke bar) on the night of George W. Bush&#8217;s 2007 State of the
Union address. To date, they have released nearly a dozen issues of the
serial, including <i>My Day Walking Across Portland</i>, <i>My Day On
Swan Island</i>, and <i>My Day In On &amp; Under the Burnside Bridge</i>.
Current issues of <i>My Day</i> can usually be obtained at Reading
Frenzy and Powell&#8217;s in Portland, or by emailing <a
 class="moz-txt-link-abbreviated" href="mailto:nathanorton@hotmail.com">nathanorton@hotmail.com</a>.<br>
<b>&nbsp;&nbsp;&nbsp;&nbsp; Nate Orton</b> is a Portland-based visual artist who primarily
works on large-scale drawings and paintings. His artwork as well as
showing dates can be viewed at nateorton.com.<br>
<b>&nbsp;&nbsp;&nbsp;&nbsp; James Yeary</b> is a Portland-based poet, member of the Spare
Room Collective, and a minister (he does weddings and funerals). You
can keep up with his literary activities at
catabolicguiltcalendar.blogspot.com and his priestly duties at
ordinarychurch.blogspot.com.<br>
<br>
<b><br>
</b><br>
<br>
</body>
</html>

--------------070802050404000909010703--


From passages@rdrop.com Sun Apr 18 14:09:42 2010
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Spare Room presents an evening of collaborative works:*

Jon Cotner & Andy Fitch */(with a special guest)/*
James Yeary & Nate Orton
**
*Wednesday, April 21
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

==================================================
*Upcoming Readings*//

May 16: /David Wolach, Jen Coleman, & Cara Benson
/June 13: /Drew Kunz & Felicia Atkinson/
June 27: /Deborah Poe & Meredith Blankinship/
July 11: /Jen Tynes & Joseph Bradshaw
/July tba: /Polyvocal Poetry Festival
/August 1: /Rob Schlegel & Burt Kimmelman

/postponed, date tba: /Ammiel Alcalay & Standard Schaefer/

==================================================

*Jon Cotner* and *Andy Fitch* are the authors of /Ten Walks/Two Talks/ 
(Ugly Duckling Presse, 2010), a book that Time Out New York describes 
as "philosophical, formally innovative and fascinating."
     /"Ten Walks/Two Talks/ updates the meandering and meditative form 
of Basho's travel diaries. Mapping 21st-century New York, Cotner and 
Fitch tap their predecessor's collaborative tendencies in order to 
construct a descriptive/dialogic fugue. The book combines a series of 
sixty-minute, sixty-sentence walks around Manhattan and a pair of 
dialogues about walking---one of which takes place during a late-night 
'philosophical' ramble through Central Park." (uglyducklingpresse.org)
     Cotner and Fitch have performed their dialogic improvisations 
across the country, as well as in Toronto and Berlin. They co-edited the 
1036-page digital anthology /Interdisciplinary Transcriptions/; other 
publications where their work has appeared include /Animal Shelter/ 
(Semiotext(e)), /Brooklyn Rail, Denver Quarterly, Electric Literature, 
LIT, n+1, /and/ UbuWeb/.
     "Improvisations 2006-2010," the March 2010 issue of the audio 
journal /textsound /(textsound.org)/,/ contains 8+ hours of solo and 
collaborative mp3s by Cotner and Fitch.
     *Jon Cotner *lives in New York City. *Andy Fitch* is an assistant 
professor in the University of Wyoming's MFA Program.

As an experiment in the expansion of their pleine-aire zine serial /My 
Day/, *James Yeary* and *Nate Orton *will perform the entirety of their 
three-part /My Day Walking Across Portland/, with "live" drawing from 
the books, & a live reading.
     After producing /My Day On The Max/, the first installment of what 
would become the serial, Nate began inviting friends to collaborate. 
James first joined him for /My Night At Chopsticks/ (a  karaoke bar) on 
the night of George W. Bush's 2007 State of the Union address. To date, 
they have released nearly a dozen issues of the serial, including /My 
Day Walking Across Portland/, /My Day On Swan Island/, and /My Day In On 
& Under the Burnside Bridge/. Current issues of /My Day/ can usually be 
obtained at Reading Frenzy and Powell's in Portland, or by emailing 
nathanorton@hotmail.com.
*     Nate Orton* is a Portland-based visual artist who primarily works 
on large-scale drawings and paintings. His artwork as well as showing 
dates can be viewed at nateorton.com.
*     James Yeary* is a Portland-based poet, member of the Spare Room 
Collective, and a minister (he does weddings and funerals). You can keep 
up with his literary activities at catabolicguiltcalendar.blogspot.com 
and his priestly duties at ordinarychurch.blogspot.com.

--------------090605080202060904030408
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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
<div class="moz-text-html" lang="x-western">
Spare Room presents an evening of collaborative works:<b><br>
<br>
Jon Cotner &amp; Andy Fitch </b><i>(with a special guest)</i><b><br>
James Yeary &amp; Nate Orton<br>
</b><b><br>
</b>Wednesday, April 21<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
==================================================<br>
<b>Upcoming Readings</b><i></i><br>
<br>
May 16: <i>David Wolach, Jen Coleman, &amp; Cara Benson<br>
</i>June 13: <i>Drew Kunz &amp; Felicia Atkinson</i><br>
June 27: <i>Deborah Poe &amp; Meredith Blankinship</i><br>
July 11: <i>Jen Tynes &amp; Joseph Bradshaw<br>
</i>July tba: <i>Polyvocal Poetry Festival<br>
</i>August 1: <i>Rob Schlegel &amp; Burt Kimmelman<br>
<br>
</i>postponed, date tba: <i>Ammiel Alcalay &amp; Standard Schaefer</i><br>
<br>
==================================================<br>
<br>
<div><b>Jon Cotner</b> and <b>Andy Fitch</b> are the authors of <i>Ten
Walks/Two
Talks</i><span class="Apple-style-span" style="font-style: italic;">
</span>(Ugly Duckling Presse, 2010), a book that&nbsp;<span
 class="Apple-style-span" style="font-style: italic;">Time Out New York
</span>describes
as&nbsp;"philosophical, formally innovative and fascinating." <br>
&nbsp;&nbsp;&nbsp;&nbsp; <i>"Ten Walks/Two Talks</i> updates the meandering and meditative
form of Basho&#8217;s travel diaries. Mapping 21st-century New York, Cotner
and Fitch tap their predecessor&#8217;s collaborative tendencies in order to
construct a descriptive/dialogic fugue. The book combines a series of
sixty-minute, sixty-sentence walks around Manhattan and a pair of
dialogues about walking&#8212;one of which takes place during a late-night
'philosophical' ramble through Central Park." (uglyducklingpresse.org)<br>
&nbsp;&nbsp;&nbsp;&nbsp; Cotner and
Fitch have performed their dialogic improvisations across the country,
as well as in Toronto and Berlin. They co-edited the 1036-page digital
anthology <i>Interdisciplinary Transcriptions</i>; other publications
where their work has appeared include <i>Animal Shelter</i>
(Semiotext(e)), <i>Brooklyn Rail, Denver Quarterly, Electric
Literature, LIT, n+1, </i>and<i> UbuWeb</i>.<br>
&nbsp;&nbsp;&nbsp;&nbsp; "Improvisations 2006-2010," the March
2010 issue of the audio journal <i>textsound </i>(textsound.org)<i>,</i>
contains
8+ hours of solo and collaborative mp3s by Cotner and Fitch. <br>
&nbsp;&nbsp;&nbsp;&nbsp; <b>Jon Cotner
</b>lives in New York City. <b>Andy Fitch</b> is an assistant
professor in the
University of Wyoming's MFA Program.</div>
<br>
As an experiment in the expansion of their pleine-aire zine serial <i>My
Day</i>, <b>James Yeary</b> and <b>Nate Orton </b>will perform the
entirety of their three-part <i>My Day Walking Across Portland</i>,
with "live" drawing from the books, &amp; a live reading.<br>
&nbsp;&nbsp;&nbsp;&nbsp; After producing <i>My Day On The Max</i>, the first installment
of what would become the serial, Nate began inviting friends to
collaborate. James first joined him for <i>My Night At Chopsticks</i>
(a&nbsp; karaoke bar) on the night of George W. Bush&#8217;s 2007 State of the
Union address. To date, they have released nearly a dozen issues of the
serial, including <i>My Day Walking Across Portland</i>, <i>My Day On
Swan Island</i>, and <i>My Day In On &amp; Under the Burnside Bridge</i>.
Current issues of <i>My Day</i> can usually be obtained at Reading
Frenzy and Powell&#8217;s in Portland, or by emailing <a
 class="moz-txt-link-abbreviated" href="mailto:nathanorton@hotmail.com">nathanorton@hotmail.com</a>.<br>
<b>&nbsp;&nbsp;&nbsp;&nbsp; Nate Orton</b> is a Portland-based visual artist who primarily
works on large-scale drawings and paintings. His artwork as well as
showing dates can be viewed at nateorton.com.<br>
<b>&nbsp;&nbsp;&nbsp;&nbsp; James Yeary</b> is a Portland-based poet, member of the Spare
Room Collective, and a minister (he does weddings and funerals). You
can keep up with his literary activities at
catabolicguiltcalendar.blogspot.com and his priestly duties at
ordinarychurch.blogspot.com.</div>
</body>
</html>

--------------090605080202060904030408--


From passages@rdrop.com Sat May  1 19:55:27 2010
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Subject: [Spare Room Press Release] FWD: Nealon/Lohmann/Sikelianos, 5/15
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Tangent is pleased to host a multi-media poetry event on SATURDAY, 15 
May at 7 PM.

DC-based poet and critic *CHRIS NEALON *will read his poems, as will 
Portland poet, curator, and editor *SAM LOHMANN*. Local 
filmmaker *T'CHAKA ANGHELOS SIKELIANOS/ /*will also screen one of his 
short films. The event will take place at our usual spot, the Clinton 
Corner Cafe. Admission is free. 


Tangent presents:
*SAM LOHMANN*, *CHRIS NEALON*, & *T'CHAKA ANGHELOS SIKELIANOS*
SATURDAY, MAY 15 at 7 PM
Clinton Corner Cafe, 2633 SE 21st Ave. (@ Clinton), Portland
www.thetangentpress.org/readings.html
*

SAM LOHMANN* lives in Portland, works at a preschool, and edits the 
semiannual poetry zine /Peaches and Bats. /He's a member of the Spare 
Room reading series collective, and the author of several chapbooks and 
pamphlets, most recently /Onlooking /and /Fluted Octaves (for nothing).

/*CHRIS NEALON* grew up in Binghamton, NY, and moved out west in the 
mid-90s, where he lived for about 15 years, teaching at UC Berkeley. He 
recently moved back east, and teaches in the English Department at Johns 
Hopkins. He is the author of two books of poems, /The Joyous Age/ (Black 
Square Editions, 2004), and /Plummet /(Edge Books, 2009), as well as two 
books of literary criticism: /Foundlings: Lesbian and Gay Historical 
Emotion before Stonewall /(Duke UP 2001), and /The Matter of Capital: 
Poetry and Crisis in The American Century/ (forthcoming from Harvard UP, 
2011). He lives in Washington, DC./

/*T'CHAKA ANGHELOS SIKELIANOS *is a Portland-based filmmaker who has 
worked on a variety of feature and short film projects, including /The 
Blackout/ (directed by Abel Ferrara) and /My Name Is Buttons/ (directed 
by John Merriman and Courtney Davis).  He works at a Night & Day Studios 
media production company as a 3D animator and is currently at work on a 
graphic novel called /R.O.M.E./PDX/ about the racial/racist history of 
Portland and its current dilemma of being both one of America's most 
progressive cities while being one of the least diverse.



--------------030706020409070601000405
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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
Tangent is pleased to host a multi-media poetry event on SATURDAY, 15
May at 7 PM. <br>
<br>
DC-based poet and critic&nbsp;<b>CHRIS NEALON&nbsp;</b>will
read his poems, as will Portland poet, curator, and editor&nbsp;<b>SAM
LOHMANN</b>. Local filmmaker&nbsp;<b>T'CHAKA ANGHELOS
SIKELIANOS<i>&nbsp;</i></b>will also screen one of his short
films. The event will take place at our usual spot, the Clinton Corner
Cafe. Admission is free.&nbsp;
<br>
<br>
<br>
Tangent presents:
<br>
<b>SAM LOHMANN</b>, <b>CHRIS NEALON</b>, &amp; <b>T'CHAKA
ANGHELOS SIKELIANOS</b>
<br>
SATURDAY, MAY 15 at 7 PM
<br>
Clinton Corner Cafe, 2633 SE 21st Ave. (@ Clinton), Portland
<br>
<!-- 0000,0000,EEE6 --><a class="moz-txt-link-abbreviated"
 href="http://www.thetangentpress.org/readings.html">www.thetangentpress.org/readings.html</a>
<br>
<b><br>
<br>
SAM LOHMANN</b> lives in Portland, works at a preschool, and edits
the semiannual poetry zine <i>Peaches and Bats. </i>He's a
member of the Spare Room reading series collective, and the author of
several chapbooks and pamphlets, most recently <i>Onlooking
</i>and <i>Fluted Octaves (for nothing).
<br>
<br>
</i><b>CHRIS NEALON</b> grew up in Binghamton, NY, and
moved out west in the mid-90s, where he lived for about 15 years,
teaching at UC Berkeley. He recently moved back east, and teaches in
the English Department at Johns Hopkins. He is the author of two books
of poems, <i>The Joyous Age</i> (Black Square Editions,
2004), and <i>Plummet </i>(Edge Books, 2009), as well as two
books of literary criticism: <i>Foundlings: Lesbian and Gay
Historical Emotion before Stonewall </i>(Duke UP 2001), and
<i>The Matter of Capital: Poetry and Crisis in The American
Century</i> (forthcoming from Harvard UP, 2011). He lives in
Washington, DC.<i>
<br>
<br>
</i><b>T'CHAKA ANGHELOS SIKELIANOS </b>is a Portland-based
filmmaker who has worked on a variety of feature and short film
projects, including <i>The Blackout</i> (directed by Abel
Ferrara) and <i>My Name Is Buttons</i> (directed by John
Merriman and Courtney Davis).&nbsp; He works at a Night &amp; Day Studios
media
production company as a 3D animator and is currently at work on a
graphic novel called <i>R.O.M.E./PDX</i> about the
racial/racist history of Portland and its current dilemma of being
both one of America&#8217;s most progressive cities while being one of the
least diverse.
<br>
<br>
<br>
</body>
</html>

--------------030706020409070601000405--


From passages@rdrop.com Sat May  1 19:57:03 2010
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Spare Room presents*

David Wolach
Jen Coleman
Cara Benson
**
*Sunday, May 16
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

==================================================
*Upcoming Readings*
/
/June 13: /Drew Kunz & Felicia Atkinson/
June 27: /Deborah Poe & Meredith Blankinship/
July 11: /Jen Tynes & Joseph Bradshaw
/July tba: /Polyvocal Poetry Festival
/August 1: /Rob Schlegel & Burt Kimmelman/

==================================================

*David Wolach* is founding editor of Wheelhouse Magazine & Press, & 
curator of the series devoted to the intersection of experiments in 
texts & radical politics, PRESS. Wolach's most recent books are 
/Occultations/ (Black Radish), /Prefab Eulogies Vol 1: Nothings Houses/ 
(BlazeVox), and /Hospitalogy/ (Scantily Clad). His work is often often 
collaborative and uses multiple media. Wolach is professor of text arts 
& poetics at The Evergreen State College, & visiting professor in Bard 
College's Workshop In Language & Thinking. He's currently collaborating 
with composer Arun Chandra on an 8-channel sound-text piece for four 
voices, translated from a section of his forthcoming book 
/Occultations/, "Modular Arterial Cacophony."*

Jen Coleman* is a Portland poet transplanted from Minnesota by way of 
Wisconsin, DC and then New York. She's the author of the chapbook 
/Propinquity/, and her work has appeared in many excellent journals 
including /Chain/, /Ixnay /and /Tangent/. She has co-edited the former 
literary journal /Pom-Pom/ and co-hosted the /In Your Ear/ reading 
series in DC.*
*

*Cara Benson *is author of /(made)/ with BookThug and /Protean Parade/ 
forthcoming with Black Radish Books. She's editor of the 
interdisciplinary book /Predictions/ for ChainLinks. Other work is 
included in: Belladonna Elders Series #7 with Anne Waldman and Jayne 
Cortez, /NO GENDER: REFLECTIONS ON THE LIFE & WORK OF kari edwards 
/(Litmus Press/Belladonna Books), and /Imaginary Syllabi /(Palm Press). 
/Spell/ing ( ) Bound/, a collaborative tri-partite art objet 
(ellectrique press), and /Quantum Chaos and Poems: A Manifest(o)ation/ 
(BookThug), which won the 2008 bpNichol Prize, will always be two of her 
favs. Benson edits the online journal /Sous Rature/ and teaches poetry 
in a NY State Prison.




*{eulogy for ultra red}*
 

/after mazen kerbaj/


 
                       Debris in the silence

 
                                                                                                       
[mourning]

          
                        What we say about our-
   
          
                        Selves a past has yet

 
                        To come a dog

 
                        Punches every air


                                                                                                      
[moorings]

 
                        After each successive laser-
 

                        Timed blast incessant quest-
 

                        Ions into a morning no body

 
                        But shrapnel



*David Wolach*

from /Prefab Eulogies Vol 1: Nothings Houses/



*New Year*

Unshaven afternoon and angry cats.
A storm sky, a barn left to winds
a carnival of danger a slackjaw miracle.
Beaks shine like a skull
Across the landscape.
Best ways scream into focus.
In absent exhaustion, to sleep
as fish dip noses into the air.

Bony moss snouts tip the surface.
The passing year looks on
The birthing clock, does its best to turtle
there, a wooden judge, a cop,
a mewling monster born
a realistic chance devouring
the air and anybody loitering.

*Jen Coleman*




Burned earth, the fire can travel through dry underground roots and 
spring up hundreds of feet from its source. Garden beseeched. Prayer 
gods kneeling over the victims. Evisceration of locals. The perimeter is 
secured by the usual means, though it is evident the event is so 
unusual. The ringing in the ears fades for some, in others, remains. 
What they hear is projection of what they have heard with constancy to 
date. This may be solely the function of their aural mechanisms; likely 
it is the mind registering its vote in the process. A collaborator. 
These survivors will re-experience the screaming at night. Florence will 
hear casino bells. Henry, the washing machine.
                                                    saved     

*Cara Benson*


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<body bgcolor="#ffffff" text="#000000">
Spare Room presents<b><br>
<br>
David Wolach<br>
Jen Coleman<br>
Cara Benson<br>
</b><b><br>
</b>Sunday, May 16<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
==================================================<br>
<b>Upcoming Readings</b><br>
<i><br>
</i>June 13: <i>Drew Kunz &amp; Felicia Atkinson</i><br>
June 27: <i>Deborah Poe &amp; Meredith Blankinship</i><br>
July 11: <i>Jen Tynes &amp; Joseph Bradshaw<br>
</i>July tba: <i>Polyvocal Poetry Festival<br>
</i>August 1: <i>Rob Schlegel &amp; Burt Kimmelman</i><br>
<br>
==================================================<br>
<br>
<b>David Wolach</b> is founding editor of Wheelhouse Magazine &amp;
Press,
&amp; curator of the series devoted to the intersection of experiments
in texts &amp; radical politics, PRESS. Wolach&#8217;s most recent books are <i>Occultations</i>
(Black Radish), <i>Prefab Eulogies Vol 1: Nothings Houses</i>
(BlazeVox), and <i>Hospitalogy</i> (Scantily Clad). His work is often
often collaborative and uses multiple media. Wolach is professor of
text arts &amp; poetics at The Evergreen State College, &amp; visiting
professor in Bard College&#8217;s Workshop In Language &amp; Thinking. He&#8217;s
currently collaborating with composer Arun Chandra on an 8-channel
sound-text piece for four voices, translated from a section of his
forthcoming book <i>Occultations</i>, &#8220;Modular Arterial Cacophony.&#8221;<strong><br>
<br>
Jen Coleman</strong> is a Portland poet transplanted from
Minnesota by way of Wisconsin, DC and then New York. She&#8217;s the author
of the chapbook <em>Propinquity</em>, and her work has appeared in
many excellent journals including <em>Chain</em>, <em>Ixnay </em>and
<em>Tangent</em>. She has co-edited the former literary journal <em>Pom-Pom</em>
and co-hosted the <em>In Your Ear</em> reading series in DC.<strong><br>
</strong>
<p><strong>Cara Benson </strong>is author of&nbsp;<em>(made)</em> with
BookThug and <em>Protean Parade</em> forthcoming with Black Radish
Books. She's editor of the interdisciplinary book <em>Predictions</em>
for ChainLinks. Other work is included in: Belladonna Elders Series #7
with Anne Waldman and Jayne Cortez, <em>NO GENDER: REFLECTIONS ON THE
LIFE &amp; WORK OF kari edwards </em>(Litmus Press/Belladonna Books),
and <em>Imaginary Syllabi </em>(Palm Press). <em>Spell/ing ( ) Bound</em>,
a collaborative tri-partite art objet (ellectrique press), and <em>Quantum
Chaos and Poems: A Manifest(o)ation</em> (BookThug), which won the 2008
bpNichol Prize, will always be two of her favs. Benson edits the online
journal <em>Sous Rature</em> and teaches poetry in a NY State Prison.<br>
</p>
<br>
<br>
<br>
<b>{eulogy for ultra red}</b><br>
&nbsp;<br>
<br>
<i>after mazen kerbaj</i><br>
<br>
<br>
&nbsp;<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Debris in the silence<br>
<br>
&nbsp;<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
[mourning]<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What we say about our-<br>
&nbsp;&nbsp;&nbsp; <br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Selves a past has yet<br>
<br>
&nbsp;<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; To come a dog<br>
<br>
&nbsp;<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Punches every air<br>
<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
[moorings]<br>
<br>
&nbsp;<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; After each successive laser-<br>
&nbsp;<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Timed blast incessant quest-<br>
&nbsp;<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ions into a morning no body<br>
<br>
&nbsp;<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; But shrapnel<br>
<br>
<br>
<br>
<b>David Wolach</b><br>
<br>
from <i>Prefab Eulogies Vol 1: Nothings Houses</i><br>
<br>
<br>
<br>
<b>New Year</b><br>
<br>
Unshaven afternoon and angry cats. <br>
A storm sky, a barn left to winds <br>
a carnival of danger a slackjaw miracle. <br>
Beaks shine like a skull <br>
Across the landscape. <br>
Best ways scream into focus. <br>
In absent exhaustion, to sleep <br>
as fish dip noses into the air.<br>
<br>
Bony moss snouts tip the surface. <br>
The passing year looks on <br>
The birthing clock, does its best to turtle <br>
there, a wooden judge, a cop,<br>
a mewling monster born<br>
a realistic chance devouring <br>
the air and anybody loitering. <br>
<br>
<b>Jen Coleman</b><br>
<br>
<br>
<br>
<br>
Burned earth, the fire can travel through dry underground roots and
spring up hundreds of feet from its source. Garden beseeched. Prayer
gods kneeling over the victims. Evisceration of locals. The perimeter
is secured by the usual means, though it is evident the event is so
unusual. The ringing in the ears fades for some, in others, remains.
What they hear is projection of what they have heard with constancy to
date. This may be solely the function of their aural mechanisms; likely
it is the mind registering its vote in the process. A collaborator.
These survivors will re-experience the screaming at night. Florence
will hear casino bells. Henry, the washing machine. <br>
<div align="right">&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <big><big><big>saved
&nbsp;&nbsp;&nbsp;&nbsp; </big></big></big><br>
</div>
<br>
<b>Cara Benson</b><br>
<br>
</body>
</html>

--------------010902070900010500070504--


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Subject: [Spare Room Press Release] Summer Lit Arts Courses at MAC
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Registration is now open for this summer's literary arts courses at 
Multnomah Arts Center:
/
    Writing & Reading Poetry/ -- David Abel
/    //Writing the Short Story/ -- Ryan Blacketter
/    //The Journey: Rites of Passage/ -- Donna Prinzmetal

and an exciting new series of one-day writing excursions, /Writing Places/:
/
//    //Poetry: Art As Muse/ (Portland Art Museum) -- Joseph Bradshaw
/    //Lost Neighborhoods/ (Nihonmachi, Vanport) -- Kaia Sand
/    //Writing "Nature"/ (Forest Park) -- Allison Cobb
/    //Portland Alphabetical/ (Downtown) -- David Abel

See below for full descriptions.

For more information, or to register, call 503-823-2787, or go to 
www.multnomahartscenter.org, where you can download a complete catalogue 
of summer courses.



*Writing & Reading Poetry -- David Abel*
/Special Topic: Construction Ahead/
    What do the party game of "telephone," a TV Guide listing, a local 
history tour, and the saxophone solos of John Coltrane have in common?
     They've all been used as structural models for poems!
     In this workshop, through readings and writing exercises, we'll 
examine a wide range of poetic forms, looking at the relationships 
between the structures we find and our ability to understand, to be 
affected by the poems. We'll work and play with the most basic building 
blocks: the alphabet, grammar, counting, narrative; and we'll see how 
those basic elements are used in the construction of familiar forms (the 
sonnet, the lyric, the polemic, and so on). But we'll also spend time 
looking at less familiar models (see the first paragraph), and 
experimenting and inventing structures and forms of our own.
     Our primary goal will be to develop an attitude of freedom and 
playfulness with regard to the forms of poetry, empowering us as readers 
and as writers. This workshop is open to anyone (beginner or veteran) 
who writes poetry and wants to deepen their understanding of the art.
*Tuesday 6:30 - 9:00pm   July 13 - August 17 [6 classes]*


*Writing the Short Story -- Ryan Blacketter*
In this workshop we will study the craft of literary fiction, paying 
attention to voice, tension, character, description, dialogue, and 
narrative arc. Each student will present one short story for workshop. 
We'll read published stories as well, and discuss ways to foster a daily 
commitment to reading and writing. This class supports writers at all 
stages of artistic development.
*Monday  6:30 - 9:00 pm   June 14 - August 3 (no class July 5) [10 classes]*


*The Journey: Rites of Passage -- Donna Prinzmetal*
/    In the middle of the journey of our life
    I came to myself within a dark wood
    where the straight way was lost./
        (from The Divine Comedy of Dante Alighieri)
Our lives are punctuated by "rites of passage," transformational moments 
such as the first day of school, a bar or bat-mitzvah, a wedding, the 
break-up of a first relationship, the birth of a child. They can be as 
big as an entire stage of development, such as puberty; or as small as a 
minute, when, for whatever reason, your perception of yourself or of the 
world shifts. In this workshop, students will explore these significant 
signposts in their lives through writing. Whether there's an event that 
you've always wanted to write about, or you'd like to find out more 
about the moments that have shaped and transformed you, you'll discover 
that your own life can be your richest source of creative inspiration.
*Wednesday  6:30 - 8:30   July 14, 21, 28 [3 classes]*


*WRITING PLACES: FOUR EXCURSIONS*

    This summer, take your pen and notebook out for a stroll, and 
enliven your writing with a breath of fresh air! With local writers as 
your guides, explore the forest, the street, the museum, the 
neighborhood -- taking inspiration and provocation from trails, 
pictures, and maps; from everyday scenes and hidden histories. Each 
one-day excursion is a self-contained writing experience.
    The excursions are open to all (age 18 & up); both beginning and 
experienced writers are welcome.

*/Excursion 1    Poetry: Art As Muse -- Joseph Bradshaw/*
    Discover the many gems the Portland Art Museum has to offer -- while 
writing poetry! Through guided viewing and independent study, we'll 
learn how to transfer the lines and forms of paintings and sculptures 
into lines of verse. In this one-day workshop we'll look at and respond 
to a variety of works while simultaneously learning about the rich 
literary history of poems written in response to visual artworks.
    Location: Portland Art Museum
*    Saturday, June 19,  1:00 -- 5:00 pm*

/*Excursion 2    Lost Neighborhoods (Nihonmachi, Vanport) -- Kaia Sand*/
    It is because our memories of former dwelling-places are relived as 
daydreams that these dwelling places of the past remain in us for all 
time. (Gaston Bachelard)
     What are the daydreams of your former dwelling-places? Shelters, 
homes, neighborhoods? And how do we imagine the dwelling-places of our 
city that have disappeared? This poetry excursion will take us to 
Nihonmachi (present-day Old Town), which ceased to be Japantown in May, 
1942, when its residents were forcibly interned; and to the land where 
Vanport City existed in the 1940s as the state's second biggest city 
before it flooded away. Our day will combine group writing and 
exploration, as well as writing and wandering on your own. All of our 
excursion is MAX accessible.
    Location: Old Town and Vanport; meet at Floyd's Coffee Shop in Old 
Town, 118 NW Couch
*    Saturday, June 26,  10:00 am -- 3:00 pm*

/*Excursion 3    Writing "Nature" -- Allison Cobb*/
    What does "Nature" mean to you? How does the concept of "Nature" 
inform your writing practice, and your lived experience? We'll meet at 
one of the most popular entrances to Forest Park and begin the class by 
exploring our own first experiences of nature and the natural world. 
We'll also consider how other writers have navigated the "nature" vs. 
"culture" divide. Then, we'll walk the Lower Macleay Trail (a short hike 
of less than one mile on relatively flat ground), to the WPA Stone 
House. Participants will be asked to notice, along the way, what to them 
represents "nature" and what "culture." We'll also pause for writing 
breaks. At the Stone House we'll take a writing, lunch, and discussion 
break, and participants will share their impressions. Then, we'll head 
back down the trail. We'll reconvene at the picnic shelter to conduct a 
final writing experiment and process our impressions.
    Location: Lower Macleay Park (entrance to Forest Park); meet at the 
picnic shelter
*    Saturday, July 17, 10:00 am -- 2:00 pm*

/*Excursion 4    Portland Alphabetical -- David Abel*/
    When was the last time you took a stroll through the alphabet? 
Ankeny, Burnside, Couch, Davis . . . everyone knows those conveniently 
named streets, but how many other alphabets are hidden in Portland's 
stories, in its maps and signs, ledgers and lives? Could the city have 
come into existence without the alphabet to hold it together? In this 
full-day workshop, we'll explore several of downtown Portland's 
alphabetical features (including that temple of the alphabet, the 
Central Library), taking notes, compiling inventories, and developing 
topics for further research, with plenty of time for writing, 
discussion, and a presentation by a special guest. Writing exercises 
will provide strategies to organize our observations, and will give 
insight into the structures deeply embedded in our words and our 
experiences.
    Location: Downtown Portland; meeting place to be announced
*    Saturday, August 7,  10:00 am -- 4:00 pm*


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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
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<body bgcolor="#ffffff" text="#000000">
Registration is now open for this summer's literary arts courses at
Multnomah Arts Center:<br>
<i><br>
&nbsp;&nbsp;&nbsp; Writing &amp; Reading Poetry</i> -- David Abel<br>
<i>&nbsp;&nbsp;&nbsp; </i><i>Writing the Short Story</i> -- Ryan Blacketter<br>
<i>&nbsp;&nbsp;&nbsp; </i><i>The Journey: Rites of Passage</i> -- Donna Prinzmetal<br>
<br>
and an exciting new series of one-day writing excursions, <i>Writing
Places</i>:<br>
<i><br>
</i><i>&nbsp;&nbsp;&nbsp; </i><i>Poetry: Art As Muse</i> (Portland Art Museum) --
Joseph Bradshaw<br>
<i>&nbsp;&nbsp;&nbsp; </i><i>Lost Neighborhoods</i> (Nihonmachi, Vanport) -- Kaia Sand<br>
<i>&nbsp;&nbsp;&nbsp; </i><i>Writing "Nature"</i> (Forest Park) -- Allison Cobb<br>
<i>&nbsp;&nbsp;&nbsp; </i><i>Portland Alphabetical</i> (Downtown) -- David Abel<br>
<br>
See below for full descriptions.<br>
<br>
For more information, or to register, call 503-823-2787, or go to
<a class="moz-txt-link-abbreviated" href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a>, where you can download a complete
catalogue of summer courses.<br>
<br>
<br>
<br>
<b>Writing &amp; Reading Poetry -- David Abel</b><br>
<i>Special Topic: Construction Ahead</i><br>
&nbsp;&nbsp; &nbsp;What do the party game of &#8220;telephone,&#8221; a TV Guide listing, a local
history tour, and the saxophone solos of John Coltrane have in common? <br>
&nbsp;&nbsp;&nbsp;&nbsp; They&#8217;ve all been used as structural models for poems!<br>
&nbsp;&nbsp;&nbsp;&nbsp; In this workshop, through readings and writing exercises, we&#8217;ll
examine a wide range of poetic forms, looking at the relationships
between the structures we find and our ability to understand, to be
affected by the poems. We&#8217;ll work and play with the most basic building
blocks: the alphabet, grammar, counting, narrative; and we&#8217;ll see how
those basic elements are used in the construction of familiar forms
(the sonnet, the lyric, the polemic, and so on). But we&#8217;ll also spend
time looking at less familiar models (see the first paragraph), and
experimenting and inventing structures and forms of our own.<br>
&nbsp;&nbsp;&nbsp;&nbsp; Our primary goal will be to develop an attitude of freedom and
playfulness with regard to the forms of poetry, empowering us as
readers and as writers. This workshop is open to anyone (beginner or
veteran) who writes poetry and wants to deepen their understanding of
the art.<br>
<b>Tuesday 6:30 - 9:00pm&nbsp;&nbsp; July 13 - August 17 [6 classes]</b><br>
<br>
<br>
<b>Writing the Short Story -- Ryan Blacketter</b><br>
In this workshop we will study the craft of literary fiction, paying
attention to voice, tension, character, description, dialogue, and
narrative arc. Each student will present one short story for workshop.
We&#8217;ll read published stories as well, and discuss ways to foster a
daily commitment to reading and writing. This class supports writers at
all stages of artistic development.<br>
<b>Monday&nbsp; 6:30 - 9:00 pm&nbsp;&nbsp; June 14 - August 3 (no class July 5) [10
classes]</b><br>
<br>
<br>
<b>The Journey: Rites of Passage -- Donna Prinzmetal</b><br>
<i>&nbsp;&nbsp; &nbsp;In the middle of the journey of our life<br>
&nbsp;&nbsp;&nbsp; I came to myself within a dark wood<br>
&nbsp;&nbsp;&nbsp; where the straight way was lost.</i><br>
&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;(from The Divine Comedy of Dante Alighieri)<br>
Our lives are punctuated by "rites of passage," transformational
moments such as the first day of school, a bar or bat-mitzvah, a
wedding, the break-up of a first relationship, the birth of a child.
They can be as big as an entire stage of development, such as puberty;
or as small as a minute, when, for whatever reason, your perception of
yourself or of the world shifts. In this workshop, students will
explore these significant signposts in their lives through writing.
Whether there's an event that you've always wanted to write about, or
you'd like to find out more about the moments that have shaped and
transformed you, you'll discover that your own life can be your richest
source of creative inspiration. <br>
<b>Wednesday&nbsp; 6:30 - 8:30&nbsp;&nbsp; July 14, 21, 28 [3 classes]</b><br>
<br>
<br>
<b>WRITING PLACES: FOUR EXCURSIONS</b><br>
<br>
&nbsp;&nbsp; &nbsp;This summer, take your pen and notebook out for a stroll, and
enliven your writing with a breath of fresh air! With local writers as
your guides, explore the forest, the street, the museum, the
neighborhood -- taking inspiration and provocation from trails,
pictures, and maps; from everyday scenes and hidden histories. Each
one-day excursion is a self-contained writing experience. <br>
&nbsp;&nbsp; &nbsp;The excursions are open to all (age 18 &amp; up); both beginning
and experienced writers are welcome.<br>
<br>
<b><i>Excursion 1&nbsp;&nbsp; &nbsp;Poetry: Art As Muse -- Joseph Bradshaw</i></b><br>
&nbsp;&nbsp; &nbsp;Discover the many gems the Portland Art Museum has to offer --
while writing poetry! Through guided viewing and independent study,
we&#8217;ll learn how to transfer the lines and forms of paintings and
sculptures into lines of verse. In this one-day workshop we&#8217;ll look at
and respond to a variety of works while simultaneously learning about
the rich literary history of poems written in response to visual
artworks.<br>
&nbsp;&nbsp; &nbsp;Location: Portland Art Museum<br>
<b>&nbsp;&nbsp; &nbsp;Saturday, June 19,&nbsp; 1:00 -- 5:00 pm</b><br>
<br>
<i><b>Excursion 2&nbsp;&nbsp; &nbsp;Lost Neighborhoods (Nihonmachi, Vanport) -- Kaia
Sand</b></i><br>
&nbsp;&nbsp; &nbsp;It is because our memories of former dwelling-places are relived as
daydreams that these dwelling places of the past remain in us for all
time. (Gaston Bachelard)<br>
&nbsp;&nbsp;&nbsp;&nbsp; What are the daydreams of your former dwelling-places? Shelters,
homes, neighborhoods? And how do we imagine the dwelling-places of our
city that have disappeared? This poetry excursion will take us to
Nihonmachi (present-day Old Town), which ceased to be Japantown in May,
1942, when its residents were forcibly interned; and to the land where
Vanport City existed in the 1940s as the state's second biggest city
before it flooded away. Our day will combine group writing and
exploration, as well as writing and wandering on your own. All of our
excursion is MAX accessible.<br>
&nbsp;&nbsp; &nbsp;Location: Old Town and Vanport; meet at Floyd&#8217;s Coffee Shop in Old
Town, 118 NW Couch<br>
<b>&nbsp;&nbsp; &nbsp;Saturday, June 26,&nbsp; 10:00 am -- 3:00 pm</b><br>
<br>
<i><b>Excursion 3&nbsp;&nbsp; &nbsp;Writing &#8220;Nature&#8221; -- Allison Cobb</b></i><br>
&nbsp;&nbsp; &nbsp;What does "Nature" mean to you? How does the concept of "Nature"
inform your writing practice, and your lived experience? We'll meet at
one of the most popular entrances to Forest Park and begin the class by
exploring our own first experiences of nature and the natural world.
We'll also consider how other writers have navigated the "nature" vs.
"culture" divide. Then, we'll walk the Lower Macleay Trail (a short
hike of less than one mile on relatively flat ground), to the WPA Stone
House. Participants will be asked to notice, along the way, what to
them represents "nature" and what "culture." We'll also pause for
writing breaks. At the Stone House we'll take a writing, lunch, and
discussion break, and participants will share their impressions. Then,
we'll head back down the trail. We'll reconvene at the picnic shelter
to conduct a final writing experiment and process our impressions.<br>
&nbsp;&nbsp; &nbsp;Location: Lower Macleay Park (entrance to Forest Park); meet at the
picnic shelter<br>
<b>&nbsp;&nbsp; &nbsp;Saturday, July 17, 10:00 am -- 2:00 pm</b><br>
<br>
<i><b>Excursion 4&nbsp;&nbsp; &nbsp;Portland Alphabetical -- David Abel</b></i><br>
&nbsp;&nbsp; &nbsp;When was the last time you took a stroll through the alphabet?
Ankeny, Burnside, Couch, Davis . . . everyone knows those conveniently
named streets, but how many other alphabets are hidden in Portland&#8217;s
stories, in its maps and signs, ledgers and lives? Could the city have
come into existence without the alphabet to hold it together? In this
full-day workshop, we&#8217;ll explore several of downtown Portland&#8217;s
alphabetical features (including that temple of the alphabet, the
Central Library), taking notes, compiling inventories, and developing
topics for further research, with plenty of time for writing,
discussion, and a presentation by a special guest. Writing exercises
will provide strategies to organize our observations, and will give
insight into the structures deeply embedded in our words and our
experiences.<br>
&nbsp;&nbsp; &nbsp;Location: Downtown Portland; meeting place to be announced<br>
<b>&nbsp;&nbsp; &nbsp;Saturday, August 7,&nbsp; 10:00 am -- 4:00 pm</b><br>
<br>
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You are cordially invited to a poetry reading by

David Abel & Chris Daniels

which will also launch the new airfoil chapbook by Chris Daniels:
/porous, nomadic/


Smorg Reading Series

Friday, May 21
7:00 pm

The Waypost
3120 N. Williams Ave.

http://www.smorgreadingseries.blogspot.com
http://www.thewaypost.com
http://airfoilchapbooks.blogspot.com


The perfervidly anti-capitalist, godless, internationalist son of 
well-known language-artist maestro David Daniels, *Chris Daniels* was 
born in NYC in 1956. He dropped out of high school to become a 
dishwasher and never bothered with college. He worked as a cook and 
played electric bass guitar for many years. In 1980, he moved to the San 
Francisco Bay Area, where he still lives and, until very recently, sold 
his labor at a terrible loss. For reasons still unclear to him, he 
passed the GED and received a high school diploma in 1996.
      His books of translation include /The Collected Poems of Alberto 
Caeiro/ by Fernando Pessoa and /The Collected Poems of Álvaro de Campos/ 
by Fernando Pessoa, vol. 2 (both published by Shearsman Books; vol. 1 of 
Campos is forthcoming); /On the Shining Screen of the Eyelids/ by Josely 
Vianna Baptista (Manifest Press); and an ongoing, fascicular anthology 
of Lusophone poetry, self-published and -distributed as exceedingly 
modest chapbooks.

Poet, performer, and multidisciplinary artist *David Abel* moved to 
Portland in 1997, after tenures in New York City and Albuquerque (where 
he maintained the Bridge Bookshop, and Passages Bookshop & Gallery, 
respectively). Also an editor, bookseller, and curator, he frequently 
collaborates in various capacities with friends far and near. He is a 
founding member of the Spare Room reading series 
(www.flim.com/spareroom), now in its ninth year, and the author of 
various chapbooks and artist's books, most recently /Commonly/ 
(airfoil), /While You Were In/ (disposable books), and /Twenty/- 
(Crane's Bill Books). He is the publisher of the Envelope broadside 
series, and copublisher with Sam Lohmann of airfoil chapbooks.



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You are cordially invited to a poetry reading by<br>
<br>
David Abel &amp; Chris Daniels<br>
<br>
which will also launch the new airfoil chapbook by Chris Daniels:<br>
<i>porous, nomadic</i><br>
<br>
<br>
Smorg Reading Series<br>
<br>
Friday, May 21<br>
7:00 pm<br>
<br>
The Waypost<br>
3120 N. Williams Ave.<br>
<br>
<a href="http://www.smorgreadingseries.blogspot.com">http://www.smorgreadingseries.blogspot.com</a><br>
<a href="http://www.thewaypost.com">http://www.thewaypost.com</a><br>
<a class="moz-txt-link-freetext"
 href="http://airfoilchapbooks.blogspot.com">http://airfoilchapbooks.blogspot.com</a><br>
<br>
<br>
The perfervidly anti-capitalist, godless, internationalist son of
well-known language-artist maestro David Daniels, <b>Chris Daniels</b>
was born in NYC in 1956. He dropped out of high school to become a
dishwasher and never bothered with college. He worked as a cook and
played electric bass guitar for many years. In 1980, he moved to the
San Francisco Bay Area, where he still lives and, until very recently,
sold his labor at a terrible loss. For reasons still unclear to him, he
passed the GED and received a high school diploma in 1996.<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; His books of translation include <i>The Collected Poems of
Alberto
Caeiro</i> by Fernando Pessoa and <i>The Collected Poems of &Aacute;lvaro de
Campos</i> by Fernando Pessoa, vol. 2 (both published by Shearsman
Books; vol. 1 of Campos is forthcoming); <i>On the Shining Screen of
the Eyelids</i> by Josely Vianna Baptista (Manifest Press); and an
ongoing, fascicular anthology of Lusophone poetry, self-published and
-distributed as exceedingly modest chapbooks.<br>
<br>
Poet, performer, and multidisciplinary artist <b>David Abel</b> moved
to
Portland in 1997, after tenures in New York City and Albuquerque (where
he maintained the Bridge Bookshop, and Passages Bookshop &amp; Gallery,
respectively). Also an editor, bookseller, and curator, he frequently
collaborates in various capacities with friends
far and near. He is a founding member of the Spare Room reading series
(<a class="moz-txt-link-abbreviated"
 href="http://www.flim.com/spareroom">www.flim.com/spareroom</a>), now
in its ninth year, and the author of
various chapbooks and artist&#8217;s books, most recently <i>Commonly</i>
(airfoil), <i>While
You Were In</i> (disposable books), and <i>Twenty</i>- (Crane&#8217;s Bill
Books). He is the publisher of the Envelope broadside series, and
copublisher with Sam Lohmann of airfoil chapbooks.<br>
<br>
<br>
</body>
</html>

--------------000507010906070101070908--


From passages@rdrop.com Sat May 22 16:51:42 2010
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MAC Literary Arts program presents

*Poetic Excursions*

a reading by
*Kaia Sand*, *Allison Cobb*, *Joseph Bradshaw*, &* David Abel*

with special guests
*Lawson Inada *&* Chris Daniels*


Thursday, June 3
6:00 pm

Director Park -- Art Canopy
815 SW Park Avenue, Portland

Free admission
(Cafe Violetta's food cart will be open late)

For more information, call 503.823.2284 or visit 
www.multnomahartscenter.org.

==============================================================

This summer, the Literary Arts program of the Multnomah Arts Center will 
inaugurate */Writing Places/*, a series of one-day writing "excursions" 
in changing locations, led by local writers.  

The Poetic Excursions reading highlights some of the teaching artists of 
Multnomah Arts Center's literary arts program. *Kaia Sand, Allison Cobb, 
Joseph Bradshaw, *and* David Abel* will read from their work, and 
briefly discuss the excursions that they will lead in this summer's 
series. They will be joined by special guests *Lawson Inada* and *Chris 
Daniels.*

==============================================================

*Kaia Sand*'s new book, /Remember to Wave/ (Tinfish Press), investigates 
the land surrounding the Portland Expo Center, where she leads a poetry 
walk. She is the author of a poetry collection, /interval/ (Edge Books), 
a Small Press Traffic Book of the Year, and co-author with Jules Boykoff 
of /Landscapes of Dissent: Guerrilla Poetry and Public Space/ (Palm 
Press).  Sand has created several chapbooks through the Dusie Kollektiv, 
and her poems comprise the text of two books in Jim Dine's Hot Dreams 
series (Steidl Editions). She is currently working on The Happy Valley 
Project, poetry dwelling on the distribution of human dwelling, 
including housing foreclosures.
*
Allison Cobb* is the author of /Born Two/ (Chax Press, 2004) and 
/Green-Wood/ (Factory School, 2010), a chronicle of her experiences in 
Brooklyn, New York's famous nineteenth-century Green-Wood Cemetery, for 
which she was awarded a New York Foundation for the Arts fellowship. She 
was born in Los Alamos, New Mexico, as were the first atomic bombs, and 
she now lives in Portland, Oregon.

*Joseph Bradshaw* earned an MFA from the Iowa Writers' Workshop in 
2008.  He is the author of two chapbooks of poetry (/The Way Birds 
Become/  and /This Ocean, or Oppen Series/), and regularly contributes 
reviews and criticism to /Cultural Society/ and /Rain Taxi/. Currently, 
he lives in Southeast Portland and teaches at Portland State University 
and Pacific Northwest College of Art.

*David Abel (*poet, performer, multidisciplinary artist, and MAC's 
literary arts coordinator) moved to Portland in 1997, after tenures in 
New York City and Albuquerque (where he maintained the Bridge Bookshop, 
and Passages Bookshop & Gallery, respectively). Also an editor, 
bookseller, and curator, he frequently collaborates in various 
capacities with friends far and near. He is a founding member of the 
Spare Room reading series (www.flim.com/spareroom), now in its ninth 
year, and the author of various chapbooks and artist's books, most 
recently /Commonly/ (airfoil), /While You Were In/ (disposable books), 
and /Twenty-/ (Crane's Bill Books). He is the publisher of the Envelope 
broadside series, and copublisher with Sam Lohmann of airfoil chapbooks.

*Lawson Fusao Inada* is an emeritus Oregon Poet Laureate and professor 
of writing at Southern Oregon University in Ashland. He served as the 
Steinbeck chair for the National Steinbeck Center, a forum established 
to promote a community-wide celebration of literature in the tradition 
of John Steinbeck. He joins this reading to support increased access to 
poetry in our communities.
*
Chris Daniels* was born in NYC in 1956. He dropped out of high school to 
become a dishwasher and never bothered with college. In 1980, he moved 
to the San Francisco Bay Area, where he still lives and, until very 
recently, sold his labor at a terrible loss.  His books of translation 
include /The Collected Poems of Alberto Caeiro/ by Fernando Pessoa and 
/The Collected Poems of Álvaro de Campos/ by Fernando Pessoa, vol. 2 
(both published by Shearsman Books); /On the Shining Screen of the 
Eyelids/ by Josely Vianna Baptista (Manifest Press); a first chapbook of 
his own poems, /porous, nomadic/, has just been published in Portland's 
own airfoil chapbook series.


About Multnomah Arts Center

Located in the Multnomah Village neighborhood in SW Portland, MAC serves 
over 1000 students in the visual, performing and literary arts of all 
ages and abilities each week.  A program of Portland Parks & Recreation, 
its mission is to provide high quality instruction & participation in 
the performing, visual, & literary arts to all  interested persons, 
regardless of age, race, religion, ethnic origin, financial means, or 
level of ability.








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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
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<head>
</head>
<body bgcolor="#ffffff" text="#000000">
MAC Literary Arts program presents<br>
<br>
<b>Poetic Excursions</b><br>
<br>
a reading by <br>
<b>Kaia Sand</b>, <b>Allison Cobb</b>, <b>Joseph Bradshaw</b>, &amp;<b>
David Abel</b><br>
<br>
with special guests <br>
<b>Lawson Inada </b>&amp;<b> Chris Daniels</b><br>
<br>
<br>
Thursday, June 3<br>
6:00 pm<br>
<br>
Director Park -- Art Canopy<br>
815 SW Park Avenue, Portland<br>
<br>
Free admission<br>
(Cafe Violetta&#8217;s food cart will be open late)<br>
<br>
For more information, call 503.823.2284 or visit
<a class="moz-txt-link-abbreviated" href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a>.<br>
<br>
==============================================================<br>
<br>
This summer, the Literary Arts program of the Multnomah Arts Center
will inaugurate <b><i>Writing Places</i></b>, a series of one-day
writing "excursions" in changing locations, led by local writers.&nbsp;&nbsp; <br>
<br>
The Poetic Excursions reading highlights some of the teaching artists
of Multnomah Arts Center&#8217;s literary arts program. <b>Kaia Sand,
Allison Cobb, Joseph Bradshaw, </b>and<b> David Abel</b> will read
from their work, and briefly discuss the excursions that they will lead
in this summer's series. They will be joined by special guests <b>Lawson
Inada</b> and <b>Chris Daniels.</b><br>
<br>
==============================================================<br>
<br>
<b>Kaia Sand</b>&#8217;s new book, <i>Remember to Wave</i> (Tinfish Press),
investigates the land surrounding the Portland Expo Center, where she
leads a poetry walk. She is the author of a poetry collection, <i>interval</i>
(Edge Books), a Small Press Traffic Book of the Year, and co-author
with Jules Boykoff of <i>Landscapes of Dissent: Guerrilla Poetry and
Public Space</i> (Palm Press).&nbsp; Sand has created several chapbooks
through the Dusie Kollektiv, and her poems comprise the text of two
books in Jim Dine's Hot Dreams series (Steidl Editions). She is
currently working on The Happy Valley Project, poetry dwelling on the
distribution of human dwelling, including housing foreclosures. <br>
<b><br>
Allison Cobb</b> is the author of <i>Born Two</i> (Chax Press, 2004)
and <i>Green-Wood</i> (Factory School, 2010), a chronicle of her
experiences in Brooklyn, New York's famous nineteenth-century
Green-Wood Cemetery, for which she was awarded a New York Foundation
for the Arts fellowship. She was born in Los Alamos, New Mexico, as
were the first atomic bombs, and she now lives in Portland, Oregon.<br>
<br>
<b>Joseph Bradshaw</b> earned an MFA from the Iowa Writers' Workshop in
2008.&nbsp; He is the author of two chapbooks of poetry (<i>The Way Birds
Become</i>&nbsp; and <i>This Ocean, or Oppen Series</i>), and regularly
contributes reviews and criticism to <i>Cultural Society</i> and <i>Rain
Taxi</i>. Currently, he lives in Southeast Portland and teaches at
Portland State University and Pacific Northwest College of Art.<br>
<br>
<b>David Abel (</b>poet, performer, multidisciplinary artist, and MAC&#8217;s
literary arts coordinator) moved to Portland in 1997, after tenures in
New York City and Albuquerque (where he maintained the Bridge Bookshop,
and Passages Bookshop &amp; Gallery, respectively). Also an editor,
bookseller, and curator, he frequently collaborates in various
capacities with friends far and near. He is a founding member of the
Spare Room reading series (<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a>), now in its ninth
year, and the author of various chapbooks and artist&#8217;s books, most
recently <i>Commonly</i> (airfoil), <i>While You Were In</i>
(disposable books), and <i>Twenty-</i> (Crane&#8217;s Bill Books). He is the
publisher of the Envelope broadside series, and copublisher with Sam
Lohmann of airfoil chapbooks.<br>
<br>
<b>Lawson Fusao Inada</b> is an emeritus Oregon Poet Laureate and
professor of writing at Southern Oregon University in Ashland. He
served as the Steinbeck chair for the National Steinbeck Center, a
forum established to promote a community-wide celebration of literature
in the tradition of John Steinbeck. He joins this reading to support
increased access to poetry in our communities.<br>
<b><br>
Chris Daniels</b> was born in NYC in 1956. He dropped out of high
school to become a dishwasher and never bothered with college. In 1980,
he moved to the San Francisco Bay Area, where he still lives and, until
very recently, sold his labor at a terrible loss.&nbsp; His books of
translation include <i>The Collected Poems of Alberto Caeiro</i> by
Fernando Pessoa and <i>The Collected Poems of &Aacute;lvaro de Campos</i> by
Fernando Pessoa, vol. 2 (both published by Shearsman Books); <i>On the
Shining Screen of the Eyelids</i> by Josely Vianna Baptista (Manifest
Press); a first chapbook of his own poems, <i>porous, nomadic</i>, has
just been published in Portland's own airfoil chapbook series.<br>
<br>
<br>
About Multnomah Arts Center<br>
<br>
Located in the Multnomah Village neighborhood in SW Portland, MAC
serves over 1000 students in the visual, performing and literary arts
of all ages and abilities each week.&nbsp; A program of Portland Parks &amp;
Recreation, its mission is to provide high quality instruction &amp;
participation in the performing, visual, &amp; literary arts to all&nbsp;
interested persons, regardless of age, race, religion, ethnic origin,
financial means, or level of ability.<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
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Spare Room presents

*Drew Kunz
Félicia Atkinson
*
Sunday, June 13
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

==================================================
*Upcoming Readings*
//June 27: /Deborah Poe & Meredith Blankinship/
July 11: /Jen Tynes & Joseph Bradshaw/
//July 18: /Polyvocal Poetry Festival/
//August 1: /Rob Schlegel & Burt Kimmelman/
//==================================================

*Drew Kunz* is a poet, visual artist / photographer, and editor. Kunz 
and Stacy Szymaszek edited the literary journal /Traverse/ from 1999 to 
2004. Since 2005, he has acted as sole editor and publisher of the 
journals /Track & Field/ and /Miniature Forests/, as well as a digital 
and print chapbook project tir aux pigeons/SERIES. His books include 
/Tether/ (Dusie Kollektiv) and /Terminals/ (tir aux pigeons); he lives 
with his family in Suquamish, Washington.

*Félicia Atkinson* was born in Paris in and currently resides in Brussels.
    After studying anthropology at Paris VIII and fine arts at Les 
Beaux-Arts de Paris, and practicing contemporary dance with Boris 
Charmatz, she moved to Brussels to enjoy the northern light, the space, 
the friendly people and the belgian fries. Her work is inspired by two 
ways of thinking: the Japanese wabi-sabi philosophy of the unfinished, 
and lo-fi and psychedelic improvisations in music and drawing. 
Imperfections, improvisation, repetition, raw materials, folk culture , 
minimal art, travel, translation, contemplation, are the materials of 
her body of work which includes performance, writing, music, drawing, 
photography. . .
    Her first solo album, /la la la/, recorded at home with guitar 
loops, small electronics, voice, and melodica, was released on the 
Japanese label Spekk. /Lakes and Losses/, her second solo album 
(recorded also at home with harp, guitar, electronics and voice), is a 
sad mantra in six parts about the mutation of the seasons and the heart. 
She has played and recorded music with Paul Labrecque from Sunburned 
Hand of the Man, and toured and recorded with Sylvain Chauveau, 
Stretchandrelax, and Louisville.
    Her drawings and installations have been exhibited at Elaine Levy 
Project, Brussels; Heidi Gallery, Nantes; Komplot, Brussels; Lieu 
Commun, Toulouse; Super Core, Brooklyn; Bon Bon Gallery, Hiroshima; etc./
    Dream Sequence/ is her first published book 
(http://kaugummi.fr/dreamsequence.html); she can be found online at 
http://feliciaatkinson.be.


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<div class="moz-text-html" lang="x-western">Spare Room presents<br>
<br>
<b>Drew Kunz<br>
F&eacute;licia Atkinson<br>
</b><br>
Sunday, June 13<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
==================================================<br>
<b>Upcoming Readings</b><br>
<i></i>June 27: <i>Deborah Poe &amp; Meredith Blankinship</i><br>
July 11: <i>Jen Tynes &amp; Joseph Bradshaw</i><br>
<i></i>July 18: <i>Polyvocal Poetry Festival</i><br>
<i></i>August 1: <i>Rob Schlegel &amp; Burt Kimmelman</i><br>
<i></i>==================================================<br>
<br>
<b>Drew Kunz</b> is a poet, visual artist / photographer, and editor.
Kunz and Stacy Szymaszek edited the literary journal <i>Traverse</i>
from 1999 to 2004. Since 2005, he has acted as sole editor and
publisher of the journals <i>Track &amp; Field</i> and <i>Miniature
Forests</i>, as well as a digital and print chapbook project tir aux
pigeons/SERIES. His books include <i>Tether</i> (Dusie Kollektiv) and <i>Terminals</i>
(tir aux pigeons); he lives with his family in Suquamish, Washington.<br>
<br>
<b>F&eacute;licia Atkinson</b> was born in Paris in and currently resides in
Brussels.<br>
&nbsp;&nbsp;&nbsp;
After studying anthropology at Paris VIII and fine arts at Les
Beaux-Arts de Paris, and practicing contemporary dance with Boris
Charmatz, she moved to Brussels to enjoy the northern light, the space,
the friendly people and the belgian fries. Her work is inspired by two
ways of thinking: the Japanese wabi-sabi philosophy of the unfinished,
and lo-fi and psychedelic improvisations in music and drawing.
Imperfections, improvisation, repetition, raw materials, folk culture ,
minimal art, travel, translation, contemplation, are the materials of
her body of work which includes performance, writing, music, drawing,
photography. . .<br>
&nbsp;&nbsp;&nbsp;
Her first solo album, <i>la la la</i>, recorded at home with guitar
loops, small electronics, voice, and melodica, was released on the
Japanese label Spekk. <i>Lakes and Losses</i>, her second solo album
(recorded also at home with harp, guitar, electronics and voice), is a
sad mantra in six parts about the mutation of the seasons and the
heart. She has played and recorded music with Paul Labrecque from
Sunburned Hand of the Man, and toured and recorded with Sylvain
Chauveau, Stretchandrelax, and Louisville.<br>
&nbsp;&nbsp;&nbsp;
Her drawings and installations have been exhibited at Elaine Levy
Project, Brussels; Heidi Gallery, Nantes; Komplot, Brussels; Lieu
Commun, Toulouse; Super Core, Brooklyn; Bon Bon Gallery, Hiroshima; etc.<i>
<br>
&nbsp;&nbsp;&nbsp;
Dream Sequence</i> is her first published book
(<a class="moz-txt-link-freetext"
 href="http://kaugummi.fr/dreamsequence.html">http://kaugummi.fr/dreamsequence.html</a>);
she can be found online at
<a class="moz-txt-link-freetext" href="http://feliciaatkinson.be">http://feliciaatkinson.be</a>.<br>
<br>
</div>
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--------------050407040908020108020203--


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Subject: [Spare Room Press Release] Summer Writing Excursions
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*  !! Please Forward and/or Post !!*


*Summer Writing Excursions offered by the Literary Arts Program at 
Multnomah Arts Center*

/Registration is open now./

For more information, or to register, call 503-823-2787, or go to 
www.multnomahartscenter.org, where you can also download a complete 
catalogue of summer courses.
*

WRITING PLACES: FOUR EXCURSIONS*

    This summer, take your pen and notebook out for a stroll, and 
enliven your writing with a breath of fresh air! With local writers as 
your guides, explore the forest, the street, the museum, the 
neighborhood -- taking inspiration and provocation from trails, 
pictures, and maps; from everyday scenes and hidden histories. Each 
one-day excursion is a self-contained writing experience.
    The excursions are open to all (age 18 & up); both beginning and 
experienced writers are welcome.

*/Excursion 1    Poetry: Art As Muse -- Joseph Bradshaw/*
    Discover the many gems the Portland Art Museum has to offer -- while 
writing poetry! Through guided viewing and independent study, we'll 
learn how to transfer the lines and forms of paintings and sculptures 
into lines of verse. In this one-day workshop we'll look at and respond 
to a variety of works while simultaneously learning about the rich 
literary history of poems written in response to visual artworks.
    Location: Portland Art Museum
*    Saturday, June 19,  1:00 -- 5:00 pm*

/*Excursion 2    Lost Neighborhoods (Nihonmachi, Vanport) -- Kaia Sand*/
    /It is because our memories of former dwelling-places are relived as 
daydreams that these dwelling places of the past remain in us for all 
time./ (Gaston Bachelard)
     What are the daydreams of your former dwelling-places? Shelters, 
homes, neighborhoods? And how do we imagine the dwelling-places of our 
city that have disappeared? This poetry excursion will take us to 
Nihonmachi (present-day Old Town), which ceased to be Japantown in May, 
1942, when its residents were forcibly interned; and to the land where 
Vanport City existed in the 1940s as the state's second biggest city 
before it flooded away. Our day will combine group writing and 
exploration, as well as writing and wandering on your own. All of our 
excursion is MAX accessible.
    Location: Old Town and Vanport; meet at Floyd's Coffee Shop in Old 
Town, 118 NW Couch
*    Saturday, June 26,  10:00 am -- 3:00 pm*

/*Excursion 3    Writing "Nature" -- Allison Cobb*/
    What does "Nature" mean to you? How does the concept of "Nature" 
inform your writing practice, and your lived experience? We'll meet at 
one of the most popular entrances to Forest Park and begin the class by 
exploring our own first experiences of nature and the natural world. 
We'll also consider how other writers have navigated the "nature" vs. 
"culture" divide. Then, we'll walk the Lower Macleay Trail (a short hike 
of less than one mile on relatively flat ground), to the WPA Stone 
House. Participants will be asked to notice, along the way, what to them 
represents "nature" and what "culture." We'll also pause for writing 
breaks. At the Stone House we'll take a writing, lunch, and discussion 
break, and participants will share their impressions. Then, we'll head 
back down the trail. We'll reconvene at the picnic shelter to conduct a 
final writing experiment and process our impressions.
    Location: Lower Macleay Park (entrance to Forest Park); meet at the 
picnic shelter
*    Saturday, July 17, 10:00 am -- 2:00 pm*

/*Excursion 4    Portland Alphabetical -- David Abel*/
    When was the last time you took a stroll through the alphabet? 
Ankeny, Burnside, Couch, Davis . . . everyone knows those conveniently 
named streets, but how many other alphabets are hidden in Portland's 
stories, in its maps and signs, ledgers and lives? Could the city have 
come into existence without the alphabet to hold it together? In this 
full-day workshop, we'll explore several of downtown Portland's 
alphabetical features (including that temple of the alphabet, the 
Central Library), taking notes, compiling inventories, and developing 
topics for further research, with plenty of time for writing, 
discussion, and a presentation by a special guest. Writing exercises 
will provide strategies to organize our observations, and will give 
insight into the structures deeply embedded in our words and our 
experiences.
    Location: Downtown Portland; meeting place to be announced
*    Saturday, August 7,  10:00 am -- 4:00 pm*

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<b>&nbsp; !! Please Forward and/or Post !!</b><br>
<br>
<br>
<b>Summer Writing Excursions offered by the Literary Arts Program at
Multnomah Arts Center</b><br>
<br>
<i>Registration is open now.</i><br>
<br>
For more information, or to register, call 503-823-2787, or go to
<a class="moz-txt-link-abbreviated"
 href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a>,
where you can also download a complete
catalogue of summer courses.<br>
<b><br>
<br>
WRITING PLACES: FOUR EXCURSIONS</b><br>
<br>
&nbsp;&nbsp; &nbsp;This summer, take your pen and notebook out for a stroll, and
enliven your writing with a breath of fresh air! With local writers as
your guides, explore the forest, the street, the museum, the
neighborhood -- taking inspiration and provocation from trails,
pictures, and maps; from everyday scenes and hidden histories. Each
one-day excursion is a self-contained writing experience. <br>
&nbsp;&nbsp; &nbsp;The excursions are open to all (age 18 &amp; up); both beginning
and experienced writers are welcome.<br>
<br>
<b><i>Excursion 1&nbsp;&nbsp; &nbsp;Poetry: Art As Muse -- Joseph Bradshaw</i></b><br>
&nbsp;&nbsp; &nbsp;Discover the many gems the Portland Art Museum has to offer --
while writing poetry! Through guided viewing and independent study,
we&#8217;ll learn how to transfer the lines and forms of paintings and
sculptures into lines of verse. In this one-day workshop we&#8217;ll look at
and respond to a variety of works while simultaneously learning about
the rich literary history of poems written in response to visual
artworks.<br>
&nbsp;&nbsp; &nbsp;Location: Portland Art Museum<br>
<b>&nbsp;&nbsp; &nbsp;Saturday, June 19,&nbsp; 1:00 -- 5:00 pm</b><br>
<br>
<i><b>Excursion 2&nbsp;&nbsp; &nbsp;Lost Neighborhoods (Nihonmachi, Vanport) -- Kaia
Sand</b></i><br>
&nbsp;&nbsp; &nbsp;<i>It is because our memories of former dwelling-places are relived
as
daydreams that these dwelling places of the past remain in us for all
time.</i> (Gaston Bachelard)<br>
&nbsp;&nbsp;&nbsp;&nbsp; What are the daydreams of your former dwelling-places? Shelters,
homes, neighborhoods? And how do we imagine the dwelling-places of our
city that have disappeared? This poetry excursion will take us to
Nihonmachi (present-day Old Town), which ceased to be Japantown in May,
1942, when its residents were forcibly interned; and to the land where
Vanport City existed in the 1940s as the state's second biggest city
before it flooded away. Our day will combine group writing and
exploration, as well as writing and wandering on your own. All of our
excursion is MAX accessible.<br>
&nbsp;&nbsp; &nbsp;Location: Old Town and Vanport; meet at Floyd&#8217;s Coffee Shop in Old
Town, 118 NW Couch<br>
<b>&nbsp;&nbsp; &nbsp;Saturday, June 26,&nbsp; 10:00 am -- 3:00 pm</b><br>
<br>
<i><b>Excursion 3&nbsp;&nbsp; &nbsp;Writing &#8220;Nature&#8221; -- Allison Cobb</b></i><br>
&nbsp;&nbsp; &nbsp;What does "Nature" mean to you? How does the concept of "Nature"
inform your writing practice, and your lived experience? We'll meet at
one of the most popular entrances to Forest Park and begin the class by
exploring our own first experiences of nature and the natural world.
We'll also consider how other writers have navigated the "nature" vs.
"culture" divide. Then, we'll walk the Lower Macleay Trail (a short
hike of less than one mile on relatively flat ground), to the WPA Stone
House. Participants will be asked to notice, along the way, what to
them represents "nature" and what "culture." We'll also pause for
writing breaks. At the Stone House we'll take a writing, lunch, and
discussion break, and participants will share their impressions. Then,
we'll head back down the trail. We'll reconvene at the picnic shelter
to conduct a final writing experiment and process our impressions.<br>
&nbsp;&nbsp; &nbsp;Location: Lower Macleay Park (entrance to Forest Park); meet at the
picnic shelter<br>
<b>&nbsp;&nbsp; &nbsp;Saturday, July 17, 10:00 am -- 2:00 pm</b><br>
<br>
<i><b>Excursion 4&nbsp;&nbsp; &nbsp;Portland Alphabetical -- David Abel</b></i><br>
&nbsp;&nbsp; &nbsp;When was the last time you took a stroll through the alphabet?
Ankeny, Burnside, Couch, Davis . . . everyone knows those conveniently
named streets, but how many other alphabets are hidden in Portland&#8217;s
stories, in its maps and signs, ledgers and lives? Could the city have
come into existence without the alphabet to hold it together? In this
full-day workshop, we&#8217;ll explore several of downtown Portland&#8217;s
alphabetical features (including that temple of the alphabet, the
Central Library), taking notes, compiling inventories, and developing
topics for further research, with plenty of time for writing,
discussion, and a presentation by a special guest. Writing exercises
will provide strategies to organize our observations, and will give
insight into the structures deeply embedded in our words and our
experiences.<br>
&nbsp;&nbsp; &nbsp;Location: Downtown Portland; meeting place to be announced<br>
<b>&nbsp;&nbsp; &nbsp;Saturday, August 7,&nbsp; 10:00 am -- 4:00 pm</b><br>
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    ** Please post and/or forward **


Writing Places: Four Excursions
Literary Arts Program
Multnomah Arts Center


There are still slots available for Allison Cobb's /*Writing "Nature"*/ 
excursion this Saturday, July 17 -- see the description below, and take 
advantage of this unique opportunity!

For more information, or to register, call 503-823-2787, or go to 
www.multnomahartscenter.org, where you can also download a complete 
catalogue of summer courses.


/*Writing "Nature" -- Allison Cobb*/
     What does "Nature" mean to you? How does the concept of "Nature" 
inform your writing practice, and your lived experience? We'll meet at 
one of the most popular entrances to Forest Park and begin the class by 
exploring our own first experiences of nature and the natural world. 
We'll also consider how other writers have navigated the "nature" vs. 
"culture" divide. Then, we'll walk the Lower Macleay Trail (a short hike 
of less than one mile on relatively flat ground), to the WPA Stone 
House. Participants will be asked to notice, along the way, what to them 
represents "nature" and what "culture." We'll also pause for writing 
breaks. At the Stone House we'll take a writing, lunch, and discussion 
break, and participants will share their impressions. Then, we'll head 
back down the trail. We'll reconvene at the picnic shelter to conduct a 
final writing experiment and process our impressions.
     Location: Lower Macleay Park (entrance to Forest Park); meet at the 
picnic shelter *$20*
*    Saturday, July 17, 10:00 am -- 2:00 pm*

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** Please post and/or forward **<br>
<br>
<br>
Writing Places: Four Excursions<br>
Literary Arts Program<br>
Multnomah Arts Center<br>
<br>
<br>
There are still slots available for Allison
Cobb's&nbsp;<i><b>Writing "Nature"</b></i> excursion this Saturday, July 17
-- see the description below, and take advantage of this unique
opportunity!<br>
<div>
<div></div>
<div><br>
For more information, or to register, call 503-823-2787, or go to&nbsp;<a
 moz-do-not-send="true" class="moz-txt-link-abbreviated"
 href="http://www.multnomahartscenter.org/">www.multnomahartscenter.org</a>,
where
you can also download a complete catalogue of summer courses.<br>
<br>
<br>
<i><b>Writing &#8220;Nature&#8221; -- Allison Cobb</b></i><br>
&nbsp;&nbsp; &nbsp;What does "Nature" mean to you? How does the concept of "Nature"
inform your writing practice, and your lived experience? We'll meet at
one of the most popular entrances to Forest Park and begin the class by
exploring our own first experiences of nature and the natural world.
We'll also consider how other writers have navigated the "nature" vs.
"culture" divide. Then, we'll walk the Lower Macleay Trail (a short
hike of less than one mile on relatively flat ground), to the WPA Stone
House. Participants will be asked to notice, along the way, what to
them represents "nature" and what "culture." We'll also pause for
writing breaks. At the Stone House we'll take a writing, lunch, and
discussion break, and participants will share their impressions. Then,
we'll head back down the trail. We'll reconvene at the picnic shelter
to conduct a final writing experiment and process our impressions.<br>
&nbsp;&nbsp; &nbsp;Location: Lower Macleay Park (entrance to Forest Park); meet at the
picnic shelter <b>$20</b><br>
<b>&nbsp;&nbsp; &nbsp;Saturday, July 17, 10:00 am -- 2:00 pm</b></div>
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Subject: [Spare Room Press Release] Portland Polyvocal Poetry, Sun. 7/18
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Spare Room presents

Portland Polyvocal Poetry

Sunday, July 18th
2:00-4:00 pm

Ladd Circle
(SE 16th & Harrison,  between Hawthorne & Division)

FREE


Performers, poets, and friends will gather to test the capability of the 
poem as conversation. Many of the poems performed on Sunday will be from 
years past, and by poets no longer with us; others contemporary and 
presented by their authors. All will be performed by multiple voices, 
some by speaking or singing chorus, and several will include the 
opportunity for audience creativity and participation. Please bring your 
own refreshments and accommodations for seating (towels or folding chairs).

Organized by James Yeary

Compositions by

David Abel
Kathy Acker
Endi Bogue Hartigan
Crg Hill
Bethany Ides
Jackson Mac Low
Jesse Morse
Jacqueline Motzer
Charles Olson
mARK oWEns
Chris Piuma
Leslie Scalapino
Nico Vassilakis
Karl Young


arranged and performed by

David Abel
Alicia Cohen
Tina Frost
Endi Bogue Hartigan
Crg Hill
Lindsay Hill
Bethany Ides
Maryrose Larkin
Devin Lucid
Jesse Morse
Jacqueline Motzer
Morgan A. Ritter
Standard Schaefer
Michael Weaver
David Weinberg
James Yeary
Yo

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Spare Room Presents

*Burt Kimmelman
Rob Schlegel*

Sunday, August 1
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com


==================================================
*
Upcoming Readings*

Saturday, Sept. 18 /Jen Currin & tba/

==================================================

Burt Kimmelman has published six collections of poetry -- /Musaics/ 
(Sputyen Duyvil), /First Life/ (Jensen/Daniels), /The Pond at Cape May 
Point/ (Marsh Hawk), a collaboration with the painter Fred Caruso, 
/Somehow/ (Marsh Hawk), /There Are Words/ (Dos Madres), and /As If Free/ 
(Talisman). A professor of English at New Jersey Institute of 
Technology, he is the author of two book-length literary studies: /The 
"Winter Mind": William Bronk and American Letters/ (Fairleigh Dickinson) 
and /The Poetics of Authorship in the Later Middle Ages: The Emergence 
of the Modern Literary Persona/ (Peter Lang). He lives in the New York 
City metropolitan area with his wife Diane Simmons//.

Rob Schlegel's /The Lesser Fields/ was selected for the 2009 Colorado 
Prize for Poetry. Born and raised in Portland, OR, he currently lives in 
Iowa City and teaches creative writing and literature at Cornell College.


*Monet's Garden* /Giverny, 20 August 2005/

The lily's charm is not
its colors but how it
floats, as if free, upon

the pond's dark surface. We
make our way over his

wooden bridge and then pass
the shrubs and flowers he
planted, arranged just so

to paint. How carefully
the pigment would be placed,

how gradually the world --
its daily businesses --
would become still and deep.

* Burt Kimmelman*



*from JANUARY MACHINE *


Wearing nothing but my mask
of leaves I drift in water with
rotting fruit and neon faces

extending into glassy colonies
sincere as my attempt to speak
on behalf of my faith in me

Heeding the warning form reveals
till presence frees the demons trapped

beneath the doors floating on the sea
I live in fear till fear becomes
that part of me impossible to face

Out of choice out of love, what progress
means to nation to roots of ancient

maples ruining the public streets

*Rob Schlegel*


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Spare Room Presents<br>
<br>
<b>Burt Kimmelman<br>
Rob Schlegel</b><br>
<br>
Sunday, August 1<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
<br>
==================================================<br>
<b><br>
Upcoming Readings</b><br>
<br>
Saturday, Sept. 18&nbsp;&nbsp; <i>Jen Currin &amp; tba</i><br>
<br>
==================================================<br>
<p class="MsoNormal"><font face="Times New Roman" size="3"><span
 style="font-size: 12pt;">Burt Kimmelman</span></font> has
published six collections of poetry &#8211; <i><span
 style="font-style: italic;">Musaics</span></i>
(Sputyen Duyvil), <i><span style="font-style: italic;">First Life</span></i>
(Jensen/Daniels), <i><span style="font-style: italic;">The Pond
at Cape May Point</span></i> (Marsh Hawk), a collaboration with the
painter Fred Caruso, <i><span style="font-style: italic;">Somehow</span></i>
(Marsh
Hawk), <i><span style="font-style: italic;">There Are Words</span></i>
(Dos Madres), and <i><span style="font-style: italic;">As If Free</span></i>
(Talisman). A professor of English at New Jersey Institute of
Technology, he is the
author of two book-length literary studies: <i><span
 style="font-style: italic;">The
"Winter Mind": William Bronk and American Letters</span></i> (Fairleigh
Dickinson) and <i><span style="font-style: italic;">The
Poetics of Authorship in the Later Middle Ages: The Emergence of the
Modern
Literary Persona</span></i> (Peter Lang). He lives in the New York City
metropolitan area with his wife Diane Simmons<i><span
 style="font-style: italic;"></span></i>.</p>
<p class="MsoNormal"><font face="Times New Roman" size="3"><span
 style="font-size: 12pt;">&nbsp;</span></font>Rob Schlegel's <em>The Lesser
Fields</em> was selected for the 2009 Colorado Prize for Poetry. Born
and raised in <span class="yshortcuts" id="lw_1279207009_0">Portland,
OR</span>, he currently lives&nbsp;in&nbsp;<span class="yshortcuts"
 id="lw_1279207009_1">Iowa City and teaches creative writing and
literature at Cornell College.<br>
</span></p>
<br>
<b><font face="Times New Roman" size="3"><span style="font-size: 12pt;">Monet&#8217;s
Garden</span></font></b>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></font><i><font size="2"><span
 style="font-size: 11pt; font-style: italic;">Giverny,
20 August 2005</span></font></i><font face="Times New Roman" size="3"><span
 style="font-size: 12pt;"><br>
</span></font><br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">The
lily&#8217;s
charm
is not</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">its
colors
but
how it </span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">floats,
as
if
free, upon</span></font>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;"><br>
</span></font><br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">the
pond&#8217;s
dark
surface. We</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">make
our
way
over his</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">&nbsp;</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">wooden
bridge
and
then pass</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">the
shrubs
and
flowers he</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">planted,
arranged
just
so</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">&nbsp;</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">to
paint. How carefully</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">the
pigment
would
be placed,</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">&nbsp;</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">how
gradually
the
world &#8211;</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">its
daily
businesses
&#8211;</span></font>
<br>
<font face="Times New Roman" size="3"><span style="font-size: 12pt;">would
become
still
and </span></font>deep.<br>
<br>
<b>&nbsp;Burt Kimmelman</b><br>
<br>
<br>
<br>
<b>from JANUARY MACHINE </b><br>
<br>
<br>
Wearing nothing but my mask<br>
of leaves I drift in water with<br>
rotting fruit and neon faces <br>
<br>
extending into glassy colonies<br>
sincere as my attempt to speak <br>
on behalf of my faith in me<br>
&nbsp;<br>
Heeding the warning form reveals <br>
till presence frees the demons trapped <br>
<br>
beneath the doors floating on the sea&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br>
I live in fear till fear becomes <br>
that part of me impossible to face&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br>
&nbsp;<br>
Out of choice out of love, what progress<br>
means to nation to roots of ancient <br>
<br>
maples ruining the public streets<br>
<br>
<b>Rob Schlegel</b><br>
<br>
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Market Day Poetry Series

*Lindsay Hill
Lisa Radon
David Abel
*
Saturday, July 31
12:00 noon

Free admission

St. Johns Booksellers
8622 N. Lombard
503-283-0032
www.stjohnsbooks.com

The Market Day Poetry Series is a collaboration between St. Johns 
Booksellers and the St. Johns Farmers' Market (located in the nearby 
plaza), taking place each Saturday at noon during the market season.


About the readers:
*
Lindsay Hill* was born in San Francisco and is a graduate of Bard 
College.  His most recent books include /NdjenFerno/ (Vatic Hum) 
/Contango/ (Singing Horse) and /Sea of Hooks/ (Arundel). His work has 
been extensively published in literary journals. A new long poem, /The 
Empty Quarter/, will be published by Singing Horse later this year. 
Lindsay lives in Portland, OR with his wife, the painter Nita Hill.

*Lisa Radon* writes about art and makes art about writing, most recently 
with a project called "The Mine King I/O," a residency at 
galleryHOMELAND. For several years now, most of her poems have been 
readings of or writings through statements by modern and contemporary 
artists. She regularly collaborates with musician Tim DuRoche on 
performance and voice/sound scores for choreographers including Tere 
Mathern, Cyndey Wilkes, and Linda K. Johnson.

*David Abel* is typing these words and marveling at how soon you will be 
reading them. He is one of the organizers of the Spare Room reading 
series, now in its ninth year, and with Sam Lohmann, he publishes 
Airfoil chapbooks. He'll be collaborating with Sam Miller for 
Performance Works NW's Richard Foreman Mini-Fest in mid August, and 
earlier in that month he'll be leading a one-day writing excursion for 
Multnomah Arts Center called "Portland Alphabetical."


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Market Day Poetry Series<br>
<br>
<b>Lindsay Hill<br>
Lisa Radon<br>
David Abel<br>
</b><br>
Saturday, July 31<br>
12:00 noon<br>
<br>
Free admission<br>
<br>
St. Johns Booksellers<br>
8622 N. Lombard<br>
503-283-0032<br>
<a class="moz-txt-link-abbreviated" href="http://www.stjohnsbooks.com">www.stjohnsbooks.com</a><br>
<br>
The Market Day Poetry Series is a collaboration between St. Johns
Booksellers and the St. Johns Farmers' Market (located in the
nearby plaza), taking place each Saturday at noon during the market
season.<br>
<br>
<br>
About the readers:<br>
<b><br>
Lindsay Hill</b> was born in San Francisco and is a graduate of Bard
College.&nbsp; His most recent books include <i>NdjenFerno</i> (Vatic Hum) <i>Contango</i>
(Singing Horse) and <i>Sea of Hooks</i>
(Arundel). His work has been extensively published in literary
journals. A new long poem, <i>The Empty Quarter</i>, will be published
by Singing Horse later this year. Lindsay lives in Portland, OR with
his wife, the painter Nita Hill.<br>
<br>
<b>Lisa Radon</b> writes about art and makes art about writing, most
recently
with a project called "The Mine King I/O," a residency at
galleryHOMELAND. For several years now, most of her poems have been
readings of or writings through statements by modern and contemporary
artists. She regularly collaborates with musician Tim DuRoche on
performance and voice/sound scores for choreographers including Tere
Mathern, Cyndey Wilkes, and Linda K. Johnson.<br>
<br>
<b>David Abel</b> is typing these words and marveling at how soon you
will be reading them. He is one of the organizers of the Spare Room
reading series, now in its ninth year, and with Sam Lohmann, he
publishes Airfoil chapbooks. He'll be collaborating with Sam Miller for
Performance Works NW's Richard Foreman Mini-Fest in mid August, and
earlier in that month he'll be leading a one-day writing excursion for
Multnomah Arts Center called "Portland Alphabetical."<br>
<br>
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	Downtown Portland writing excursion
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There are still places left in the last of this summer's series of 
one-day writing excursions sponsored by the Multnomah Arts Center: 
"Portland Alphabetical," led by David Abel.


*Portland Alphabetical*

When was the last time you took a stroll through the alphabet? Ankeny, 
Burnside, Couch, Davis . . . everyone recognizes the pattern in those 
conveniently named streets, but how many other alphabets organize 
Portland's stories, its maps and signs, ledgers and lives? Could the 
city have come into existence without the alphabet to hold it together?

In this full-day workshop, we'll explore several of downtown Portland's 
alphabetical features, taking notes, compiling inventories, and 
developing topics for further research, with plenty of time for walking, 
writing, and discussion. Writing exercises will provide strategies to 
organize our observations, and will give insight into some of the 
structures deeply embedded in our words and our experiences.

Saturday, August 7
10:00 am -- 4:00 pm
$30

To register, to receive a catalog, or for more information about 
Multnomah Arts Center programs, call 503-823-2787.

You can also register online through Portland Parks & Recreation; go to 
http://tinyurl.com/2bzfo5v, and enter the course number 324597 in the 
search field.





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</style><!--StartFragment-->There are still places left in the last of
this summer's series of one-day writing excursions sponsored by the
Multnomah
Arts Center: "Portland Alphabetical," led by David Abel. <br>
<br>
<br>
<b>Portland Alphabetical<o:p></o:p></b>
<br>
<!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p>
<br>
When was the last time you took a stroll through the alphabet?
Ankeny, Burnside, Couch, Davis . . . everyone recognizes the pattern in
those conveniently named
streets, but how many other alphabets organize Portland&#8217;s stories, its
maps and signs, ledgers and lives? Could the city have come into
existence
without the alphabet to hold it together? <br>
<br>
In this full-day workshop, we&#8217;ll
explore several of downtown Portland&#8217;s alphabetical features, taking
notes, compiling
inventories, and developing topics for further research, with plenty of
time
for walking, writing, and discussion. Writing
exercises will provide strategies to organize our observations, and
will give
insight into some of the structures deeply embedded in our words and
our experiences.
<br>
<!--[if !supportEmptyParas]--><!--[endif]--> <o:p></o:p>
<br>
Saturday, August 7<span style=""><br>
</span>10:00
am -- 4:00 pm
<br>
$30<br>
<br>
To register, to receive a catalog, or for more information about
Multnomah Arts Center programs, call 503-823-2787. <br>
<br>
You can also register online through Portland Parks &amp; Recreation;
go to
<meta http-equiv="content-type" content="text/html; charset=ISO-8859-1">
<a class="moz-txt-link-freetext" href="http://tinyurl.com/2bzfo5v">http://tinyurl.com/2bzfo5v</a>, and enter the course number 324597 in the
search field.
<meta name="Title" content="">
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--------------050406030801030106020304--

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	Downtown Writing Excursion
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There are still places left in the last of this summer's series of 
one-day writing excursions sponsored by the Multnomah Arts Center: 
"Portland Alphabetical," led by David Abel.


*Portland Alphabetical*

When was the last time you took a stroll through the alphabet? Ankeny, 
Burnside, Couch, Davis . . . everyone recognizes the pattern in those 
conveniently named streets, but how many other alphabets organize 
Portland's stories, its maps and signs, ledgers and lives? Could the 
city have come into existence without the alphabet to hold it together? 
The alphabet has its own history, but does history itself depend on the 
alphabet?

In this full-day workshop, we'll explore several of downtown Portland's 
alphabetical features, taking notes, compiling inventories, and 
developing topics for further research, with plenty of time for walking, 
writing, and discussion -- and an appearance by a special guest. Writing 
exercises will provide strategies to organize our observations, and will 
give insight into some of the structures deeply embedded in our words 
and our experiences.

Saturday, August 7
10:00 am -- 4:00 pm
$30 /(scholarships available)/

To register, call Multnomah Arts Center at 503-823-2787.

--------------010509090700030206010202
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</head>
<body bgcolor="#ffffff" text="#000000">
There are still places left in the last of
this summer's series of one-day writing excursions sponsored by the
Multnomah
Arts Center: "Portland Alphabetical," led by David Abel. <br>
<br>
<br>
<b>Portland Alphabetical<o:p></o:p></b>
<br>
<!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p>
<br>
When was the last time you took a stroll through the alphabet?
Ankeny, Burnside, Couch, Davis . . . everyone recognizes the pattern in
those conveniently named
streets, but how many other alphabets organize Portland&#8217;s stories, its
maps and signs, ledgers and lives? Could the city have come into
existence
without the alphabet to hold it together? The alphabet has its own
history, but does history itself depend on the alphabet?<br>
<br>
In this full-day workshop, we&#8217;ll
explore several of downtown Portland&#8217;s alphabetical features, taking
notes, compiling
inventories, and developing topics for further research, with plenty of
time
for walking, writing, and discussion -- and an appearance by a special
guest. Writing
exercises will provide strategies to organize our observations, and
will give
insight into some of the structures deeply embedded in our words and
our experiences.
<br>
<!--[if !supportEmptyParas]--><!--[endif]--> <o:p></o:p>
<br>
Saturday, August 7<span style=""><br>
</span>10:00
am -- 4:00 pm
<br>
$30&nbsp; <i>(scholarships available)</i><br>
<br>
To register, call Multnomah Arts Center at 503-823-2787.
</body>
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--------------010509090700030206010202--

From passages@rdrop.com Tue Aug 10 13:08:53 2010
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Subject: [Spare Room Press Release] Sun. 8/15, Richard Foreman Mini-Fest,
	PWNW
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*The Eighth Annual Richard Foreman Mini-Fest*

a fundraiser for Performance Works Northwest

Sunday, August 15
5:00 pm & 7:00 pm

Someday Lounge
125 NW 5th Avenue
*$15 - $50 one show*     OR *$25 - $75 both shows*
Advance tickets: brownpapertickets.com

*     5:00 pm show:*
David Abel + Sam Miller      Chuck Barnes + Lois Leveen      Jin 
Camou      Anthony Christy + Surprise Guest      Lisa DeGrace      
Georgia Luce + Co.      Our Shoes Are Red/The Performance Lab      Theo 
Wilson

*     7:00 pm show:*
Action/Adventure      Gregg Bielemeier      Tiffany Lee Brown      Mizu 
Desierto      Tim DuRoche + Lisa Radon      Formspace      Danielle Ross 
+ Future Death Toll      Doug Theriault + Cyndy Chan

*Both shows: *
Linda Austin & the Boris & Natasha Dancers


A phenomenal lineup of venturesome theater, dance, video and literary 
artists from Portland have accepted PWNW's dare to put together a short 
performance piece in ten days based on text selected from the notebooks 
of avant-garde writer/director Richard Foreman.

At 12:01 am on August 5, the performers were given the text plus a few 
simple restrictions. Ten days later audiences will be amused, bemused, 
shocked, and/or enlightened . . . by the performance, dance, video, and 
sound that overflow the Someday Lounge stage.

This year's text -- which the artists will have the freedom to cut, 
paste, rearrange, and add to from other sources -- was selected and the 
rules of engagement devised by Chris Piuma.

For artist bios and more information: 
pwnw.wordpress.com/2010/07/29/8th-annual-richard-foreman-mini-fest-aug-15/

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</head>
<body bgcolor="#ffffff" text="#000000">
<b>The Eighth Annual Richard Foreman Mini-Fest</b><br>
<br>
a fundraiser for Performance Works Northwest<br>
<br>
Sunday, August 15<br>
5:00 pm &amp; 7:00 pm<br>
<br>
Someday Lounge<br>
125 NW 5th Avenue<br>
<b>$15 - $50 one show</b> &nbsp; &nbsp; OR &nbsp; &nbsp; &nbsp;<b>$25 - $75 both shows</b><br>
Advance tickets: brownpapertickets.com<br>
<br>
<b>&nbsp;&nbsp;&nbsp;&nbsp; 5:00 pm show:</b><br>
David Abel + Sam Miller&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Chuck Barnes + Lois Leveen&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jin
Camou&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Anthony Christy + Surprise Guest&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Lisa DeGrace&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
Georgia Luce + Co.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Our Shoes Are Red/The Performance Lab&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Theo
Wilson <br>
<br>
<b>&nbsp;&nbsp;&nbsp;&nbsp; 7:00 pm show:</b><br>
Action/Adventure&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Gregg Bielemeier&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Tiffany Lee Brown&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Mizu
Desierto&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Tim DuRoche + Lisa Radon&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Formspace&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Danielle
Ross + Future Death Toll&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Doug Theriault + Cyndy Chan
<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp; <strong>Both shows: </strong><br>
Linda Austin &amp; the Boris &amp; Natasha Dancers<br>
<br>
<br>
A phenomenal lineup of venturesome theater, dance, video and
literary artists from Portland have accepted PWNW&#8217;s dare to put
together a short performance piece in ten days based on text selected
from the notebooks of avant-garde writer/director Richard Foreman.<br>
<br>
At 12:01 am on August 5, the performers were given the text plus
a few simple restrictions. Ten days later audiences will be amused,
bemused, shocked, and/or enlightened . . . by the performance, dance,
video, and sound
that overflow the Someday Lounge stage. <br>
<br>
This year&#8217;s text -- which the
artists will have the freedom to cut, paste, rearrange, and add to from
other sources -- was selected and the rules of engagement devised by
Chris Piuma.
<br>
<br>
For artist bios and more information:
pwnw.wordpress.com/2010/07/29/8th-annual-richard-foreman-mini-fest-aug-15/
</body>
</html>

--------------020206050407020502000101--

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Date: Thu, 26 Aug 2010 01:14:54 -0700
From: David Abel <passages@rdrop.com>
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Subject: [Spare Room Press Release] Saturday 9/18: Jen Currin & Don Mee Choi
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*[please note that this reading takes place on a Saturday, /not/ our 
usual Sunday slot]
*

Spare Room Presents

*Jen Currin
Don Mee Choi*

*Saturday*, September 18
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com


==================================================
*
Upcoming Readings*

October 3 /Robert Mittenthal & Standard Schaefer/
November 7 /Lewis Warsh & Alicia Cohen/
November 14 /Les Figues press authors/
December 12 /Kristen Gallagher & Chris Alexander/

==================================================

*Jen Currin* was born and raised in Portland, Oregon, and lived in 
Boston, upstate New York, Denver, and Tempe, Arizona, before settling in 
Vancouver, B.C. in 2002. Jen teaches writing and literature at Vancouver 
Community College and Langara College. She holds an MFA in Creative 
Writing and an MA in English, and has published three books of poetry: 
/The Sleep of Four Cities/ (2005), /Hagiography/ (2008), and /The 
Inquisition Yours/ (2010).


*Don Mee Choi* was born in South Korea and came to the United States via 
Hong Kong. Her first book of poems, /The Morning News Is Exciting/, has 
just been published by Action Books. She lives and works in Seattle and 
also translates contemporary Korean women's poetry. Her translations 
include /When the Plug Gets Unplugged/ (Tinfish), /Anxiety of Words: 
Contemporary Poetry by Korean Women/ (Zephyr), and /Mommy Must Be a 
Fountain of Feathers/ (Action Books).


*Grafitti* or *You are on Yew Street*

We have been busy hating
& making home-spun slogans.

Very busy. A canister of you
is a canister of me.

Walls: We can climb them,
knock them down, or dissolve...

Someone wants to respond,
to enter an egoless room.

You are on Yew Street
facing audio charges,

half-stepping, afraid of drama & editing.

But the undo mob isn't angry.
They're busy loving everything.

Taking fire-walking classes,
wondering if the compost worms will eat glass.

It's not just manipulations on a page.

She /let/ the children throw rocks at her.

It's not just paragraphs someone wants to call emotional.

Every dog must learn repetition:

/Hey, let's go downtown and pick up some costumes./

& unlearn:

/My mask---doesn't quite fit./

//

*
Jen Currin*




To All Boys and Men!

Dandelions may not be weeds. They are related to chrysanthemums. Girls 
should.

May all weeds dislocate themselves. Girls should. I clench my fist and 
watch the morning news. Dandelion leaves are bitter yet tender. Girls 
should.
Chrysanthemums are admired. Beware. The early morning news is exciting.

*Don Mee Choi*






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 content="text/html; charset=ISO-8859-1">
</head>
<body bgcolor="#ffffff" text="#000000">
<b>[please note that this reading takes place on a Saturday, <i>not</i>
our usual Sunday slot]<br>
</b><br>
<br>
Spare Room Presents<br>
<br>
<b>Jen Currin<br>
Don Mee Choi</b><br>
<br>
<b>Saturday</b>, September 18<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
<br>
==================================================<br>
<b><br>
Upcoming Readings</b><br>
<br>
October 3 &nbsp; <i>Robert Mittenthal &amp; Standard Schaefer</i><br>
November 7&nbsp;&nbsp; <i>Lewis Warsh &amp; Alicia Cohen</i><br>
November 14 &nbsp; <i>Les Figues press authors</i><br>
December 12 &nbsp; <i>Kristen Gallagher &amp; Chris Alexander</i><br>
<br>
==================================================<br>
&nbsp;
<meta name="Title" content="">
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<p class="MsoNormal"><b>Jen Currin</b> was born and raised in Portland,
Oregon, and
lived in Boston, upstate New York, Denver, and Tempe, Arizona, before
settling
in Vancouver, B.C. in 2002. Jen teaches writing and literature at
Vancouver
Community College and Langara College. She holds an MFA in Creative
Writing and
an MA in English, and has published three books of poetry: <i>The
Sleep of Four
Cities</i><span style="font-style: normal;"> (2005), </span><i>Hagiography</i><span
 style="font-style: normal;"> (2008), and </span><i>The Inquisition
Yours</i><span style="font-style: normal;"> (2010).<br>
</span></p>
<p class="MsoNormal"><br>
</p>
<div><b>Don Mee Choi</b> was born in South Korea and came to the United
States via Hong
Kong. Her first book of poems, <i>The Morning News Is Exciting</i>,
has just
been published by Action Books. She lives and works in Seattle and also
translates contemporary Korean women's poetry. Her translations include
<i>When the Plug Gets Unplugged</i> (Tinfish), <i>Anxiety of Words:
Contemporary Poetry by Korean Women</i> (Zephyr), and <i>Mommy Must Be
a Fountain of Feathers</i> (Action Books). &nbsp;</div>
<div><br>
</div>
<p class="MsoNormal"><br>
</p>
<p class="MsoNormal"><span style="font-family: Garamond;"><b>Grafitti</b></span><span
 style="font-family: Garamond;"> or <b>You are on Yew Street</b></span><span
 style="font-family: Garamond;"><o:p></o:p></span>
<span style="font-family: Garamond;"><!--[endif]--><o:p></o:p></span><br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">We have been
busy hating<o:p></o:p></span>
<br>
<span style="font-family: Garamond;">&amp; making
home-spun
slogans.<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">Very busy. A
canister of
you<o:p></o:p></span>
<br>
<span style="font-family: Garamond;">is a canister
of me.<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">Walls: We can
climb them,<o:p></o:p></span>
<br>
<span style="font-family: Garamond;">knock them
down, or
dissolve&#8230;<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">Someone wants
to respond,<o:p></o:p></span>
<br>
<span style="font-family: Garamond;">to enter an
egoless room.<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">You are on
Yew Street<o:p></o:p></span>
<br>
<span style="font-family: Garamond;">facing audio
charges,<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">half-stepping,
afraid of
drama &amp; editing.<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">But the undo
mob isn&#8217;t
angry.<o:p></o:p></span>
<br>
<span style="font-family: Garamond;">They&#8217;re busy
loving
everything.<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">Taking
fire-walking
classes,<o:p></o:p></span>
<br>
<span style="font-family: Garamond;">wondering if
the compost
worms will eat glass.<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">It&#8217;s not just
manipulations on a page.<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">She <i>let</i></span><span
 style="font-family: Garamond;"> the children throw rocks at her.<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">It&#8217;s not just
paragraphs
someone wants to call emotional.<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">Every dog
must learn
repetition: <o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><i>Hey, let&#8217;s
go downtown
and pick up some costumes.<o:p></o:p></i></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;">&amp; unlearn:<o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span>
<br>
<span style="font-family: Garamond;"><i>My
mask&#8212;doesn&#8217;t quite
fit.</i></span><br>
<span style="font-style: normal;"><o:p></o:p></span></p>
<!--EndFragment-->
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</style><!--StartFragment--><span style="font-family: Garamond;"></span><span
 style="font-family: Garamond;"><i><o:p></o:p></i></span>
<p class="MsoNormal"><span style="font-family: Garamond;"><b><br>
Jen Currin</b><!--[endif]--> <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->
<br>
</span></p>
<p class="MsoNormal"><br>
<span style="font-family: Garamond;"><!--[endif]--><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->
<br>
</span></p>
<div>To All Boys and Men!</div>
<div><br>
</div>
<div>Dandelions may not be weeds. They are related to
chrysanthemums.&nbsp;Girls should.</div>
<div><br>
</div>
<div>May all weeds dislocate themselves. Girls should.&nbsp;I
clench my fist and watch the morning news.&nbsp;Dandelion leaves are bitter
yet tender. Girls should.&nbsp;</div>
<div>Chrysanthemums are admired. Beware.&nbsp;The early morning news is
exciting.<br>
<br>
<b>Don Mee Choi</b><br>
</div>
<div><br>
</div>
<p class="MsoNormal"><br>
<span style="font-family: Garamond;"><!--[endif]--><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span></p>
<p class="MsoNormal"><span
 style="font-size: 10pt; font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span></p>
<p class="MsoNormal"><span
 style="font-size: 10pt; font-family: Garamond;"><!--[if !supportEmptyParas]-->&nbsp;<!--[endif]--><o:p></o:p></span></p>
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<br>
<br>
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Registration is now open for this fall's literary arts courses at 
Multnomah Arts Center:
/
/Writing & Reading Short Stories/ -/- Jon Ross**/
     Memoir Writing: The Literature of Memory I/II/ -- Lyssa Tall Anolik/
     Writing & Reading Poetry/ -- David Abel
/ //Right Brain Writing/ -- Donna Prinzmetal
/Creative Writing for Families/ -- Amy Minato

See below for full descriptions.

For more information, or to register, call 503-823-2787, or go to 
www.multnomahartscenter.org, where you can download a complete catalogue 
of fall courses.


*Writing & Reading Short Stories -- Jon Ross*
 From the shapes of the tales we tell, to the voices we use to tell 
them, stories can be thought of as songs without music. In this 
workshop, we'll see where that idea takes us as we read each and discuss 
each other's stories, along with published examples, and do some 
in-class improvising with writing prompts. Each student will present at 
least one short story for workshop. Writers of all stripes and stature 
welcome. *Saturday  1:00 - 3:30 pm   October 2 - December 11 [10 classes]*

*Memoir Writing: The Literature of Memory I -- Lyssa Tall Anolik*/
/Memory is not logical or tidy, but it is infinitely interesting. Learn 
how to take the details that make up your life and turn them into 
memoir, poems, or even fiction. We will engage in the free-writing 
process using prompts to trigger and unlock the stories hidden within 
you. We'll address and put aside the inner critic, so that you may 
engage your creative process in a safe and encouraging environment. No 
writing experience necessary. All levels welcome.
*Thursday 10:00 am - 12:30 pm   September 30 - December 9 [9 classes]*

*Memoir Writing: The Literature of Memory II -- Lyssa Tall Anolik*/
/This continuation class will build on the writing process and steps 
explored in previous classes. We'll hone and strengthen your writing 
voice and revision skills and focus on the group critique process in a 
safe and encouraging environment. Process discussions and writing 
exercises will help you shape works-in-progress and give you the tools 
to plan and manage both large and small memoir projects. Prerequisite: 
previous writing class or permission from the instructor.
*Thursday 6:30 pm - 9:00 pm   September 30 - December 9 [9 classes]*

*Writing & Reading Poetry -- David Abel*/
/In this workshop, we'll look at how poetry works, as writers and as 
readers. We'll write in response to
exercises, and in response to what we read; we'll read closely one 
another's work, and the work of other poets both familiar and not. The 
challenge of reading poetry pays off in two ways: empathy for the 
situation of our readers, and the discovery of new possibilities. Open 
to anyone (beginner or veteran) who writes poetry and wants to deepen 
their understanding of the art.
*Tuesday 6:30 pm - 9:00 pm   October 19 - December 14 [8 classes]*
**
*Right Brain Writing -- Donna Prinzmetal*
//You don't have to be a writer to produce powerful and imaginative 
creative work. Through a series of
enjoyable, illuminating exercises, right brain energy is channeled into 
the making of creative vignettes, word portraits, poetry, and short 
stories. The right brain's connection to sensation is also explored as 
you learn to make your writing come alive through image, metaphor, 
voice, and surprising language. Dreams, music, painting and poetry are 
used to provide inspiration. Experienced poets and prose writers as well 
as those who have never written before are welcomed.
*Wednesday 7:00 - 8:30   October 6 - December 15 [10 classes]*

*Creative Writing for Families -- Amy Minato*/
/Learn about each other while polishing writing skills in a supportive 
atmosphere --  and learn how to encourage writing in your home. In this 
class we may create a family calendar, write a collaborative story about 
a favorite event, journal together, invent titles for family members, 
write about a pet or vacation, or compose a poem describing what makes 
your family unique. Fun and informal. Families that write, stay tight!/
One parent required to attend. Register three family members and the 
fourth is free./*
Friday 6:30 pm - 8:00 pm   November 19  [1 class]
*Saturday 10:30 am - 12:00 pm   November 20  [1 class]*
*/
/****

--------------070400050409090900040103
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>

<meta http-equiv="content-type" content="text/html; charset=ISO-8859-1">
</head>
<body bgcolor="#ffffff" text="#000000">
<div class="moz-text-html" lang="x-western">
Registration is now open for this fall's literary arts courses at
Multnomah Arts Center:<br>
<i><br>
&nbsp; &nbsp; <i>Writing &amp; Reading Short Stories</i> -</i>- Jon Ross<b></b><i><br>
&nbsp; &nbsp; Memoir Writing: The Literature of Memory I/II</i> -- Lyssa Tall
Anolik<i><br>
&nbsp;&nbsp;&nbsp; Writing &amp; Reading Poetry</i> -- David Abel<br>
<i>&nbsp;&nbsp;&nbsp; </i><i>Right Brain Writing</i> -- Donna Prinzmetal<br>
&nbsp; &nbsp; <i>Creative Writing for Families</i> -- Amy Minato<br>
<br>
See below for full descriptions.<br>
<br>
For more information, or to register, call 503-823-2787, or go to
<a class="moz-txt-link-abbreviated"
 href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a>,
where you can download a complete
catalogue of fall courses.<br>
<br>
<br>
<b>Writing &amp; Reading Short Stories -- Jon Ross</b><br>
>From the shapes of the tales we tell, to the voices we use to tell
them, stories can be thought of as songs without music. In this
workshop, we'll see where that idea takes us as we read each and
discuss each other&#8217;s stories, along with published examples, and do
some in-class improvising with writing prompts. Each student will
present at least one short story for workshop. Writers of all stripes
and stature welcome. <b>Saturday&nbsp; 1:00 - 3:30 pm&nbsp;&nbsp; October 2 -
December 11&nbsp;[10
classes]</b><br>
<br>
<b>Memoir Writing: The Literature of Memory I -- Lyssa Tall Anolik</b><i><br>
</i>Memory is not logical or tidy, but it is infinitely interesting.
Learn how to take the details that make up your life and turn them into
memoir, poems, or even fiction. We will engage in the free-writing
process using prompts to trigger and unlock the stories hidden within
you. We&#8217;ll address and put aside the inner critic, so that you may
engage your creative process in a safe and encouraging environment. No
writing experience necessary. All levels welcome.<br>
<b>Thursday 10:00 am - 12:30 pm&nbsp;&nbsp; September 30 - December 9 [9 classes]</b><br>
<br>
<b>Memoir Writing: The Literature of Memory II -- Lyssa Tall Anolik</b><i><br>
</i>This continuation class will build on the writing process and steps
explored in previous classes. We'll hone and strengthen your writing
voice and revision skills and focus on the group critique process in a
safe and encouraging environment. Process discussions and writing
exercises will help you shape works-in-progress and give you the tools
to plan and manage both large and small memoir projects. Prerequisite:
previous writing class or permission from the instructor.<br>
<b>Thursday 6:30 pm - 9:00 pm&nbsp;&nbsp; September 30 - December 9 [9 classes]</b><br>
<br>
<b>Writing &amp; Reading Poetry -- David Abel</b><span
 style="font-size: 10.5pt; font-family: Times-Roman;"><o:p></o:p></span><i><br>
</i>In this workshop, we&#8217;ll look at how poetry works, as writers and as
readers. We&#8217;ll write in response to<br>
exercises, and in response to what we read; we&#8217;ll read closely one
another&#8217;s work, and the work of other poets both familiar and not. The
challenge of reading poetry pays off in two ways: empathy for the
situation of our readers, and the discovery of new possibilities. Open
to anyone (beginner or veteran) who writes poetry and wants to deepen
their understanding of the art.<br>
<b>Tuesday 6:30 pm - 9:00 pm&nbsp;&nbsp; October 19 - December 14 [8 classes]</b><br>
<b></b><br>
<b>Right Brain Writing -- Donna Prinzmetal</b><br>
<i></i>You don&#8217;t have to be a writer to produce powerful and
imaginative creative work. Through a series of<br>
enjoyable, illuminating exercises, right brain energy is channeled into
the making of creative vignettes, word portraits, poetry, and short
stories. The right brain&#8217;s connection to sensation is also explored as
you learn to make your writing come alive through image, metaphor,
voice, and surprising language. Dreams, music, painting and poetry are
used to provide inspiration. Experienced poets and prose writers as
well as those who have never written before are welcomed.<br>
<b>Wednesday 7:00 - 8:30&nbsp;&nbsp; October 6 - December 15 [10 classes]</b><br>
<br>
<b>Creative Writing for Families -- Amy Minato</b><i><br>
</i>Learn about each other while polishing writing skills in a
supportive atmosphere --&nbsp; and learn how to encourage writing in your
home. In this class we may create a family calendar, write a
collaborative story about a favorite event, journal together, invent
titles for family members, write about a pet or vacation, or compose a
poem describing what makes your family unique. Fun and informal.
Families that write, stay tight!<i><br>
One parent required to attend. Register three family members and the
fourth is free.</i><b><br>
Friday 6:30 pm - 8:00 pm &nbsp; November 19 &nbsp;[1 class]<br>
<b>Saturday 10:30 am - 12:00 pm &nbsp; November 20 &nbsp;[1 class]</b><br>
</b><i><br>
</i><b></b><b></b></div>
</body>
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Subject: [Spare Room Press Release] Fwd: Eileen Myles - Sunday,
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from Jesse Morse:


Dear friends,

Please come out to The Waypost <http://www.thewaypost.com> to see 
renowned poet Eileen Myles read from her new poet's novel, Inferno. 
Smorg is extremely excited to host this event. Sunday, September 19th, 
7:30 pm.

Food, beer, wine and espresso all available at The Waypost 
<http://www.thewaypost.com>.

See you there!

Smorg

------

Eileen Myles will be reading from Inferno (a poet’s novel) which 
chronicles the adventures of a young female writer finding her sex and 
aesthetics in the last decades of the 20^th C. Eileen’s books of poems 
include Not Me, School of Fish and Sorry, Tree. Her first fiction, 
Chelsea Girls, appeared in 1994 followed by Cool for You (a nonfiction 
novel) in 2000. She taught in the writing program at the University of 
California at San Diego for five years, returning to New York in 2007./ 
/Last spring she was the Hugo visiting writer at U.MT <http://u.mt/>, 
Missoula. Her essays were collected in 2009 in The Importance of Being 
Iceland for which she won a Warhol/Creative Capital grant.

------

http://www.smorgreadingseries.blogspot.com
http://www.thewaypost.com
http://www.eileenmyles.com


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<meta http-equiv="content-type" content="text/html; charset=windows-1252">
</head>
<body bgcolor="#ffffff" text="#000000">
from Jesse Morse:<br>
<br>
<br>
Dear friends,<br>
<br>
Please come out to <a moz-do-not-send="true"
 href="http://www.thewaypost.com">The Waypost</a> to see renowned poet
Eileen Myles read from her new poet's novel, <span
 style="font-style: italic;">Inferno</span>. Smorg is extremely excited
to host this event. Sunday, September 19th, 7:30 pm.<br>
<br>
Food, beer, wine and espresso all available at <a
 moz-do-not-send="true" href="http://www.thewaypost.com">The Waypost</a>.<br>
<br>
See you there!<br>
<br>
Smorg<br>
<br>
------<br>
<br>
<span
 style="border-bottom: 2px dotted rgb(54, 99, 136); background: transparent none repeat scroll 0% 0%; cursor: pointer; -moz-background-clip: border; -moz-background-origin: padding; -moz-background-inline-policy: continuous; font-style: italic;"
 class="yshortcuts" id="lw_1282623448_0">Eileen Myles</span><span
 style="font-style: italic;"> will be reading from </span>Inferno (a
poet’s novel)<span style="font-style: italic;"> which chronicles the
adventures of a young female writer finding her sex and aesthetics in
the last decades of the 20</span><sup style="font-style: italic;">th</sup><span
 style="font-style: italic;"> C. Eileen’s books of poems include </span>Not
Me, <span
 style="border-bottom: 2px dotted rgb(54, 99, 136); cursor: pointer;"
 class="yshortcuts" id="lw_1282623448_1">School of Fish</span><span
 style="font-style: italic;"> and </span>Sorry, Tree<span
 style="font-style: italic;">. Her first fiction, </span>Chelsea Girls<span
 style="font-style: italic;">, appeared in 1994 followed by </span>Cool
for You<span style="font-style: italic;"> (a </span><span
 style="font-style: italic;" class="yshortcuts" id="lw_1282623448_2">nonfiction
novel</span><span style="font-style: italic;">) in 2000. She taught in
the writing program at the </span><span
 style="background: transparent none repeat scroll 0% 0%; cursor: pointer; -moz-background-clip: border; -moz-background-origin: padding; -moz-background-inline-policy: continuous; font-style: italic;"
 class="yshortcuts" id="lw_1282623448_3">University of California at
San Diego</span><span style="font-style: italic;"> for five years,
returning to New York in 2007.</span><i style="font-style: italic;"> </i><span
 style="font-style: italic;">Last spring she was the Hugo visiting
writer at </span><a moz-do-not-send="true" style="font-style: italic;"
 rel="nofollow" target="_blank" href="http://u.mt/"><span
 class="yshortcuts" id="lw_1282623448_4">U.MT</span></a><span
 style="font-style: italic;">, Missoula. Her essays were collected in
2009 in </span>The Importance of Being <span
 style="background: transparent none repeat scroll 0% 0%; cursor: pointer; -moz-background-clip: border; -moz-background-origin: padding; -moz-background-inline-policy: continuous;"
 class="yshortcuts" id="lw_1282623448_5">Iceland</span><span
 style="font-style: italic;"> for which she won a Warhol/Creative
Capital grant.<br>
<br>
------<br>
</span><br>
<a moz-do-not-send="true"
 href="http://www.smorgreadingseries.blogspot.com">http://www.smorgreadingseries.blogspot.com</a><br>
<a moz-do-not-send="true" href="http://www.thewaypost.com">http://www.thewaypost.com</a><br>
<a moz-do-not-send="true" href="http://www.eileenmyles.com">http://www.eileenmyles.com</a><span
 style="font-style: italic;"><br>
</span>
<br>
</body>
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from Barry Sanders:

International Writing Program of the University of Iowa
Portland Events, 9/29-10/1

Five writers from the IWP will appear in Portland next week. Hailing 
from China, Iran, Guatemala, South Africa, and England, they will read 
from their work and participate in a round table discussions. Details 
below; all events are free.

For more information about the International Writing Program: 
http://iwp.uiowa.edu/about/index.html


*EVENTS*

*Christopher Merrill, director of the IWP*

A talk about the importance of cultural diplomacy
/Wednesday, 9/29/
4:00 pm; reception to follow
Museum of Contemporary Craft


*Maxine Case, Laura Fish, Eduardo Halfon, Farangis Siahpoor, Tang Ling*

Round table discussion
/Thursday, 9/30/
6:30 pm
PSU, Shattuck Hall

Reading
/Friday, 10/1/
6:00 pm
PNCA, Commons


*Author Biographies*

*Maxine Case* is a fiction and nonfiction writer from South Africa.  For 
many years, she was a senior writer for the non-profit Cape Town 
Partnership and contributed to newspapers and magazines, including Real 
Simple, Reader's Digest  and O Magazine.  Her short story "Homing 
Pigeons" was included in African Compass:  New Writing from Southern 
Africa 2005.  In 2007, her debut novel All We Have Left Unsaid won the 
Commonwealth Writers' Prize for Best First Book in Africa, and, jointly, 
the Herman Charles Bosman Award.  She is now attending the graduate 
program in nonfiction at the New School in New York, where she will be 
working on a family story that reaches back to the 1700's.

*Laura Fish* (fiction writer; England) has over a decade's experience in 
broadcast television and radio, working for the BBC in news, current 
affairs, light entertainment and on documentaries. She has held posts as 
a Creative Writing tutor at St. Andrews University; the University of 
Western Cape, South Africa and the University of East Anglia. She is the 
author of the novels Flight of Black Swans (1995) and Strange Music 
(2008), which was listed for the 2009 Orange Prize, and nominated for 
the International IMPAC Dublin Literary Award. She holds the RCUK 
Academic Fellowship in Creative Writing at Newcastle University. Her 
participation is privately funded.????

*Eduardo Halfon* (fiction writer; Guatemala) was born in 1971 in 
Guatemala City. He studied Industrial Engineering in North Carolina 
State University, and then was Literature Professor at Universidad 
Francisco Marroquín, in Guatemala. He has published Esto no es una pipa, 
Saturno (Alfaguara 2003, Punto de Lectura 2007), De cabo roto (Littera 
Books 2003), El ángel literario (Anagrama 2004, Semifinalist of the 
Herralde Prize for Novel), Siete minutos de desasosiego (Panamericana 
Editorial 2007), Clases de hebreo (AMG 2008), Clases de dibujo (AMG 
2009, XV Café Bretón y Bodegas Olarra Literary Prize), El boxeador 
polaco (Pre-Textos 2008) and La pirueta (Pre-Textos 2010, Winner of the 
José María de Pereda Priza for Short Novel). Parts of his work have been 
translated into Serbian, Portuguese, Dutch, Italian, and English. In 
2007 he was named one of the best young Latin American writers by the 
Hay Festival of Bogotá.  [He appears as a guest of the IWP and the 
Wordstock Festival.]

*Farangis Siahpoor* (filmmaker; Iran) has written, directed and produced 
[Once Upon a Time], The Day After Tomorrow, and Spaghetti With Tomato 
Sauce, the experimental Fly's Eye, and the documentaries Ferdosi and 
Situation.  Her credits include work as editor, cinematographer, 
producer, production designer and script supervisor.  She has served as 
a referee for film festivals at Tehran University, and is the author of 
a collection of short stories [It Passes You By] and the play Irani Eyd. 
She participates courtesy of the Bureau of Educational and Cultural 
Affairs at the US Department of State.

*Tang Ling* Novelist, playwright, director, filmmaker (China).





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<body bgcolor="#ffffff" text="#000000">
from Barry Sanders:<br>
<br>
International Writing Program of the University of Iowa<br>
Portland Events, 9/29-10/1<br>
<br>
Five writers from the IWP will appear in Portland next week. Hailing
from China, Iran, Guatemala, South Africa, and England, they will read
from their work and participate in a round table discussions. Details
below; all events are free.<br>
<br>
<span>For more information about the International Writing Program:
<a target="_blank" href="http://iwp.uiowa.edu/about/index.html">http://iwp.uiowa.edu/about/index.html</a></span><br>
<br>
<br>
<b>EVENTS</b><br>
<br>
<b>Christopher Merrill, director of the IWP</b><br>
<br>
A talk about the importance of cultural diplomacy<br>
<i>Wednesday, 9/29</i><br>
4:00 pm; reception to follow<br>
Museum of Contemporary Craft<br>
<br>
<br>
<b>Maxine Case, Laura Fish, Eduardo Halfon, Farangis Siahpoor, Tang Ling</b><br>
<br>
Round table discussion<br>
<i>Thursday, 9/30</i><br>
6:30 pm<br>
PSU, Shattuck Hall<br>
<br>
Reading<br>
<i>Friday, 10/1</i><br>
6:00 pm<br>
PNCA, Commons<br>
<br>
<br>
<b>Author Biographies</b><br>
<br>
<b>Maxine Case</b> is a fiction and nonfiction writer from South
Africa.&nbsp; For many years, she was a senior writer for the non-profit
Cape Town Partnership and contributed to newspapers and magazines,
including Real Simple, Reader&#8217;s Digest&nbsp; and O Magazine.&nbsp; Her short
story &#8220;Homing Pigeons&#8221; was included in African Compass:&nbsp; New Writing
from Southern Africa 2005.&nbsp; In 2007, her debut novel All We Have Left
Unsaid won the Commonwealth Writers&#8217; Prize for Best First Book in
Africa, and, jointly, the Herman Charles Bosman Award.&nbsp; She is now
attending the graduate program in nonfiction at the New School in New
York, where she will be working on a family story that reaches back to
the 1700&#8217;s.<br>
<br>
<b>Laura Fish</b> (fiction writer; England) has over a decade&#8217;s
experience in broadcast television and radio, working for the BBC in
news, current affairs, light entertainment and on documentaries. She
has held posts as a Creative Writing tutor at St. Andrews University;
the University of Western Cape, South Africa and the University of East
Anglia. She is the author of the novels Flight of Black Swans (1995)
and Strange Music (2008), which was listed for the 2009 Orange Prize,
and nominated for the International IMPAC Dublin Literary Award. She
holds the RCUK Academic Fellowship in Creative Writing at Newcastle
University. Her participation is privately funded.&#8232;&#8232;&#8232;&#8232;<br>
<br>
<b>Eduardo Halfon</b> (fiction writer; Guatemala) was born in 1971 in
Guatemala City. He studied Industrial Engineering in North Carolina
State University, and then was Literature Professor at Universidad
Francisco Marroqu&iacute;n, in Guatemala. He has published Esto no es una
pipa, Saturno (Alfaguara 2003, Punto de Lectura 2007), De cabo roto
(Littera Books 2003), El &aacute;ngel literario (Anagrama 2004, Semifinalist
of the Herralde Prize for Novel), Siete minutos de desasosiego
(Panamericana Editorial 2007), Clases de hebreo (AMG 2008), Clases de
dibujo (AMG 2009, XV Caf&eacute; Bret&oacute;n y Bodegas Olarra Literary Prize), El
boxeador polaco (Pre-Textos 2008) and La pirueta (Pre-Textos 2010,
Winner of the Jos&eacute; Mar&iacute;a de Pereda Priza for Short Novel). Parts of his
work have been translated into Serbian, Portuguese, Dutch, Italian, and
English. In 2007 he was named one of the best young Latin American
writers by the Hay Festival of Bogot&aacute;.&nbsp; [He appears as a guest of the
IWP and the Wordstock Festival.]<br>
<br>
<b>Farangis Siahpoor</b> (filmmaker; Iran) has written, directed and
produced [Once Upon a Time], The Day After Tomorrow, and Spaghetti With
Tomato Sauce, the experimental Fly&#8217;s Eye, and the documentaries Ferdosi
and Situation.&nbsp; Her credits include work as editor, cinematographer,
producer, production designer and script supervisor.&nbsp; She has served as
a referee for film festivals at Tehran University, and is the author of
a collection of short stories [It Passes You By] and the play Irani
Eyd. She participates courtesy of the Bureau of Educational and
Cultural Affairs at the US Department of State.<br>
<br>
<b>Tang Ling</b> Novelist, playwright, director, filmmaker (China).<br>
<br>
<br>
<br>
<br>
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Full and corrected details for the IWP event at PSU on 9/30, courtesy 
Tim DuRoche (World Affairs Council):

“Home And A Way: International Writers Today”

Thursday, September 30th, 2010
Portland State University,
Smith Student Union, Room 236 (Cascade Room)

Since its beginnings in the 1960s, over 1200 writers from more than 120 
countries have attended the International Writers Program (IWP) at the 
University of Iowa—a program designed for established and emerging 
creative writers and structured to provide the authors with time and 
space to write, read, translate, study, conduct research, travel, give 
readings, stage work, and become part of the community at large.

This fall, Portland is honored to be hosting:

Maxine CASE (Fiction, South Africa)
Laura FISH (Fiction, England)
Eduardo HALFON (Fiction, Guatemala)
Farangis SIAHPOOR (Filmmaker, Iran)
Tang LING (Fiction and Screenwriter, China)

Join us for a reception and forum that looks at the daily life of the 
international writer—from how they “become” a writer to the support 
systems that exist for each of them in their native lands, and a 
discussion of the challenges facing writers creatively, politically and 
technically.
The author reception will be at 5:45 with the event starting at 6:30.

This event is jointly sponsored by the Portland Center for Public 
Humanities at PSU, Pacific Northwest College of Art, Ooligan Press, the 
MFA in Creative Writing at PSU, and the World Affairs Council of Oregon.

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Spare Room Presents

*Robert Mittenthal
Standard Schaefer
*
Sunday, October 3
7:30 pm

Concordia Coffee House
2909 NE Alberta

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com


==================================================
*
Upcoming Readings*

11/7 /Lewis Warsh & Alicia Cohen/
11/14 /Les Figues Press group reading/
12/12 /Kristen Gallagher & Chris Alexander/

==================================================

*Robert Mittenthal* is author of /Value Unmapped/ (Nomados), /Martyr 
Economy, Ready Terms/ (Tsunami Editions), and the forthcoming /Wax 
World/ (Chax). /Irrational Dude/, a chapbook of collaborative work with 
Nico Vassilakis, was published last year by tir aux pigeons 
(http://tir-aux-pigeons.blogspot.com/). He lives in Seattle where he was 
a curator of the Subtext Reading Series. Recent scribblings at 
http://rmutts.blogspot.com.

*Standard Schaefer*'s books include /Nova/ (Sun and Moon), /Water & 
Power/ (Marsillio), /Desert Notebook/ (ML & NLF), and the forthcoming 
/Notebook of False Purgatories/ (later). Coeditor of a number of 
journals and literary magazines (including /Ribot/, /New Review of 
Literature/, /Or/, and /Rhizome/), he has made documentary films and 
produced journalism around issues of social justice, health, and the 
environment. He lives in Portland Oregon with his wife, daughter, and 
two beagles.

==================================================

*Branded with regard (an apology)*

By imperfect I meant the superiority of hello. Spent comfort as the 
particular lauds. It is the insufficient detail -- our playful emboss. A 
pregnant pause.  ??

Goodbye anonymity. I abhor characters large and small. Anger is taxed or 
untaxed, thus it allows a referendum to dictate. ??

Infirm frontier -- whose guilt bolts into light. ??

Their comforts are incapable of art. A die cast in the fanaticism of the 
future. Symbol whose hope reaps no reward. It is the superiority of 
their dead. Heredity assures the fiction of the variable order. Please 
step outside. It is habit feels its way to applause.  ??

Innocent of what requires you, profane objects chant to dissociate the 
occasional powers -- withholding the allure of habit.

*Robert Mittenthal*



*from /Bermuda Antigua/*


Through the incomprehensible
to the ice chest full of pesticide
then the shorn skull of the impossible
jubilation ghosts the tint of sky
half outside rain displaces
the whistle in the knuckle,
a goat for a knee
intimate footprints of
more or less often not able

*

Days especially participants, air from the pouch
particles of briefly we were closed, so close to nothing
where nothing hears no one and the nothing to hear
so tender and undecided and on occasion a song
except the dark cut in the nevertheless circles
and the chirp of undeveloped themes
a constant inventory of motive and traction
until it's again time for the substitutions---
same as not same, endless on all sides exhausted

*Standard Schaefer*



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Spare Room Presents<br>
<br>
<b>Robert Mittenthal<br>
Standard Schaefer<br>
</b><br>
Sunday, October 3<br>
7:30 pm<br>
<br>
Concordia Coffee House<br>
2909 NE Alberta<br>
<br>
$5.00 suggested donation<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
<br>
==================================================<br>
<b><br>
Upcoming Readings</b><br>
<br>
11/7&nbsp;&nbsp;&nbsp;&nbsp; <i>Lewis Warsh &amp; Alicia Cohen</i><br>
11/14 &nbsp; <i>Les Figues Press group reading</i><br>
12/12 &nbsp; <i>Kristen Gallagher &amp; Chris Alexander</i><br>
<br>
==================================================<br>
<br>
<b>Robert Mittenthal</b> is author of <i>Value Unmapped</i> (Nomados),
<i>Martyr Economy, Ready Terms</i> (Tsunami Editions), and the
forthcoming <i>Wax World</i> (Chax).&nbsp; <i>Irrational Dude</i>, a
chapbook of collaborative work with Nico Vassilakis, was published last
year by tir aux pigeons (<a class="moz-txt-link-freetext"
 href="http://tir-aux-pigeons.blogspot.com/">http://tir-aux-pigeons.blogspot.com/</a>).&nbsp;He
lives
in
Seattle where he was a curator of the Subtext Reading Series.
Recent scribblings at <a class="moz-txt-link-freetext"
 href="http://rmutts.blogspot.com">http://rmutts.blogspot.com</a>.<br>
<br>
<b>Standard Schaefer</b>'s
books include <i>Nova</i> (Sun and Moon), <i>Water &amp; Power</i>
(Marsillio), <i>Desert Notebook</i> (ML &amp; NLF), and the
forthcoming <i>Notebook of False Purgatories</i> (later).<span style="">&nbsp;
</span>Coeditor of a number of journals and literary magazines
(including <i>Ribot</i><span style="font-style: normal;">, </span><i>New
Review
of Literature</i><span style="font-style: normal;">, </span><i>Or</i><span
 style="font-style: normal;">,
and </span><i>Rhizome</i><span style="font-style: normal;">), h<span
 style=""></span>e has made documentary films and
produced journalism around issues of social justice, health, and the
environment.<span style="">&nbsp; </span>He lives in Portland
Oregon with his wife, daughter, and two beagles.<span style=""> </span></span><br>
<br>
==================================================<br>
<br>
<b>Branded with regard (an apology)</b><br>
<br>
By imperfect I meant the superiority of hello.&nbsp;Spent comfort as the
particular lauds. It is the insufficient detail &#8211; our playful emboss.&nbsp;A
pregnant pause.&nbsp; &#8232;&#8232;<br>
<br>
Goodbye anonymity.&nbsp;I abhor characters large and small. Anger is taxed
or untaxed, thus it allows a referendum to dictate. &#8232;&#8232;<br>
<br>
Infirm frontier &#8211; whose guilt bolts into light. &#8232;&#8232;<br>
<br>
Their comforts are incapable of art.&nbsp;A die cast in the fanaticism of
the future.&nbsp;Symbol whose hope reaps no reward. It is the superiority of
their dead.&nbsp;Heredity assures the fiction of the variable order.&nbsp;Please
step outside.&nbsp;It is habit feels its way to applause.&nbsp; &#8232;&#8232;<br>
<br>
Innocent of what requires you, profane objects chant to dissociate the
occasional powers &#8211; withholding the allure of habit.<br>
<br>
<b>Robert Mittenthal</b><br>
<br>
<br>
<br>
<b>from <i>Bermuda Antigua</i></b>
<br>
&nbsp;
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;"></span><br>
<span style="font-family: &quot;Berling Antiqua&quot;;">Through the
incomprehensible </span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">to the ice chest
full of pesticide</span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">then the shorn
skull of the impossible</span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">jubilation
ghosts the tint of sky </span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">half outside
rain displaces </span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">the whistle in
the knuckle, </span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">a goat for a
knee</span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">intimate
footprints of </span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">more or less often
not able</span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">&nbsp;</span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">*</span>
<span style="font-family: &quot;Berling Antiqua&quot;;"><br>
<br>
</span><span style="font-family: &quot;Berling Antiqua&quot;;">Days especially
participants, air from the pouch</span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">particles of
briefly we were closed, so close to nothing </span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">where nothing
hears no one and the nothing to hear </span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">so tender and
undecided and on occasion a song</span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">except the dark
cut in the nevertheless circles </span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">and the chirp of
undeveloped themes</span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">a constant
inventory of motive and traction</span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">until it&#8217;s again
time for the substitutions&#8212;</span>
<br>
<span style="font-family: &quot;Berling Antiqua&quot;;">same as not
same, endless on all sides exhausted</span><br>
<br>
<b>Standard Schaefer</b><br>
<br>
<br>
<!--[endif]--><o:p></o:p><!--EndFragment-->
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Subject: [Spare Room Press Release] Still time to register for fall MAC
	Literary Arts courses
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A few slots are still available in some of this fall's literary arts 
courses at Multnomah Arts Center:
/
     Writing & Reading Short Stories /-- Jon Ross
/    Memoir Writing: The Literature of Memory II/ -- Lyssa Tall Anolik/
     Writing & Reading Poetry/ -- David Abel
/ //Right Brain Writing/ -- Donna Prinzmetal
/Creative Writing for Families/ -- Amy Minato

(/Memoir Writing I/ is full, but look for it again next term!)

See below for full descriptions.

For more information, or to register, call 503-823-2787, or go to 
www.multnomahartscenter.org, where you can download a complete catalogue 
of fall courses.


*Writing & Reading Short Stories -- Jon Ross*
/(Please note delayed start and shorter duration)/
 From the shapes of the tales we tell, to the voices we use to tell 
them, stories can be thought of as songs without music. In this 
workshop, we'll see where that idea takes us as we read each and discuss 
each other's stories, along with published examples, and do some 
in-class improvising with writing prompts. Each student will present at 
least one short story for workshop. Writers of all stripes and stature 
welcome. *Saturday  1:00 - 3:30 pm   November 6 - December 11 [5 classes]*

*Memoir Writing: The Literature of Memory II -- Lyssa Tall Anolik*/
/This continuation class will build on the writing process and steps 
explored in previous classes. We'll hone and strengthen your writing 
voice and revision skills and focus on the group critique process in a 
safe and encouraging environment. Process discussions and writing 
exercises will help you shape works-in-progress and give you the tools 
to plan and manage both large and small memoir projects. Prerequisite: 
previous writing class or permission from the instructor.
*Thursday 6:30 pm - 9:00 pm   September 30 - December 9 [9 classes]*

*Writing & Reading Poetry -- David Abel*/
/In this workshop, we'll look at how poetry works, as writers and as 
readers. We'll write in response to
exercises, and in response to what we read; we'll read closely one 
another's work, and the work of other poets both familiar and not. The 
challenge of reading poetry pays off in two ways: empathy for the 
situation of our readers, and the discovery of new possibilities. Open 
to anyone (beginner or veteran) who writes poetry and wants to deepen 
their understanding of the art.
*Tuesday 6:30 pm - 9:00 pm   October 19 - December 14 [8 classes]*

*Right Brain Writing -- Donna Prinzmetal*
You don't have to be a writer to produce powerful and imaginative 
creative work. Through a series of
enjoyable, illuminating exercises, right brain energy is channeled into 
the making of creative vignettes, word portraits, poetry, and short 
stories. The right brain's connection to sensation is also explored as 
you learn to make your writing come alive through image, metaphor, 
voice, and surprising language. Dreams, music, painting and poetry are 
used to provide inspiration. Experienced poets and prose writers as well 
as those who have never written before are welcomed.
*Wednesday 7:00 - 8:30   October 6 - December 15 [10 classes]*

*Creative Writing for Families -- Amy Minato*/
/Learn about each other while polishing writing skills in a supportive 
atmosphere --  and learn how to encourage writing in your home. In this 
class we may create a family calendar, write a collaborative story about 
a favorite event, journal together, invent titles for family members, 
write about a pet or vacation, or compose a poem describing what makes 
your family unique. Fun and informal. Families that write, stay tight!/
One parent required to attend. Register three family members and the 
fourth is free./*
Friday 6:30 pm - 8:00 pm   November 19  [1 class]
*Saturday 10:30 am - 12:00 pm   November 20  [1 class]**

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<div class="moz-text-html" lang="x-western">
<div class="moz-text-html" lang="x-western">A few slots are still
available in some of this fall's literary arts courses at
Multnomah Arts Center:<br>
<i><br>
&nbsp;&nbsp;&nbsp; Writing &amp; Reading Short Stories </i>-- Jon Ross<br>
<i>&nbsp; &nbsp; Memoir Writing: The Literature of Memory II</i> -- Lyssa Tall
Anolik<i><br>
&nbsp;&nbsp;&nbsp; Writing &amp; Reading Poetry</i> -- David Abel<br>
<i>&nbsp;&nbsp;&nbsp; </i><i>Right Brain Writing</i> -- Donna Prinzmetal<br>
&nbsp; &nbsp; <i>Creative Writing for Families</i> -- Amy Minato<br>
<br>
(<i>Memoir Writing I</i> is full, but look for it again next term!)<br>
<br>
See below for full descriptions.<br>
<br>
For more information, or to register, call 503-823-2787, or go to
<a class="moz-txt-link-abbreviated"
 href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a>,
where
you
can download a complete
catalogue of fall courses.<br>
<br>
<br>
<b>Writing &amp; Reading Short Stories -- Jon Ross</b><br>
<i>(Please note delayed start and shorter duration)</i><br>
>From the shapes of the tales we tell, to the voices we use to tell
them, stories can be thought of as songs without music. In this
workshop, we'll see where that idea takes us as we read each and
discuss each other&#8217;s stories, along with published examples, and do
some in-class improvising with writing prompts. Each student will
present at least one short story for workshop. Writers of all stripes
and stature welcome. <b>Saturday&nbsp; 1:00 - 3:30 pm&nbsp;&nbsp; November 6 -
December 11&nbsp;[5
classes]</b><br>
<br>
<b>Memoir Writing: The Literature of Memory II -- Lyssa Tall Anolik</b><i><br>
</i>This continuation class will build on the writing process and steps
explored in previous classes. We'll hone and strengthen your writing
voice and revision skills and focus on the group critique process in a
safe and encouraging environment. Process discussions and writing
exercises will help you shape works-in-progress and give you the tools
to plan and manage both large and small memoir projects. Prerequisite:
previous writing class or permission from the instructor.<br>
<b>Thursday 6:30 pm - 9:00 pm&nbsp;&nbsp; September 30 - December 9 [9 classes]</b><br>
<br>
<b>Writing &amp; Reading Poetry -- David Abel</b><span
 style="font-size: 10.5pt; font-family: Times-Roman;"></span><i><br>
</i>In this workshop, we&#8217;ll look at how poetry works, as writers and as
readers. We&#8217;ll write in response to<br>
exercises, and in response to what we read; we&#8217;ll read closely one
another&#8217;s work, and the work of other poets both familiar and not. The
challenge of reading poetry pays off in two ways: empathy for the
situation of our readers, and the discovery of new possibilities. Open
to anyone (beginner or veteran) who writes poetry and wants to deepen
their understanding of the art.<br>
<b>Tuesday 6:30 pm - 9:00 pm&nbsp;&nbsp; October 19 - December 14 [8 classes]</b><br>
<br>
<b>Right Brain Writing -- Donna Prinzmetal</b><br>
You don&#8217;t have to be a writer to produce powerful and
imaginative creative work. Through a series of<br>
enjoyable, illuminating exercises, right brain energy is channeled into
the making of creative vignettes, word portraits, poetry, and short
stories. The right brain&#8217;s connection to sensation is also explored as
you learn to make your writing come alive through image, metaphor,
voice, and surprising language. Dreams, music, painting and poetry are
used to provide inspiration. Experienced poets and prose writers as
well as those who have never written before are welcomed.<br>
<b>Wednesday 7:00 - 8:30&nbsp;&nbsp; October 6 - December 15 [10 classes]</b><br>
<br>
<b>Creative Writing for Families -- Amy Minato</b><i><br>
</i>Learn about each other while polishing writing skills in a
supportive atmosphere --&nbsp; and learn how to encourage writing in your
home. In this class we may create a family calendar, write a
collaborative story about a favorite event, journal together, invent
titles for family members, write about a pet or vacation, or compose a
poem describing what makes your family unique. Fun and informal.
Families that write, stay tight!<i><br>
One parent required to attend. Register three family members and the
fourth is free.</i><b><br>
Friday 6:30 pm - 8:00 pm &nbsp; November 19 &nbsp;[1 class]<br>
<b>Saturday 10:30 am - 12:00 pm &nbsp; November 20 &nbsp;[1 class]</b></b></div>
</div>
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Subject: [Spare Room Press Release] FWD: Thurs. 10/7, Econ Salon
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/from Kaia Sand:/

Dear All,

This fall I have several Portland events connected to my ongoing Happy 
Valley Project.

*Oct 7, 7 PM / First Thursday / An **Econ Salon* / poetry & the 
recession / Oct 7, 7 PM / Jules Boykoff, Allison Cobb, & Kaia Sand will 
read poetry. Cynthia Nelson will perform her "Money Song"& brand-new 
"Sand Dollars/Paper Dollars" / This Econ Salon will take place at 412 NW 
Couch Street in Old Town (the entrance is between 4th & 5th), in The 
Happy Valley Project Studio, # 414 / Other studios in the building will 
also be open for First Thursday.
*
*
*Nov 4 / First Thursday / An Econ Salon* / stories & games / details to 
follow / 412 NW Couch Street, The Happy Valley Project Studio #414 /

I will also have open studio hours during the month of November.
*
*
*Nov 28-Dec 5 / Econ Salons* and *other events*, including a TBD bus 
tour, at /Field Work/, a new gallery, storefront, and educational place 
/ 1011 SW Jefferson

The Happy Valley Project is a poetic investigation of the relationship 
between housing foreclosures and financial speculation. Grappling with 
the high finance that furthers our economic turmoil seems like a good 
job for poetry. I borrowed the name of this project from the nearby city 
that experienced such a high foreclosure rate after the housing bubble 
burst. This project gathers poets, musicians, economists and others, 
using poetic form, video, installation pieces, economics lecture, and music.

A key format for the Happy Valley project is the Econ Salon, gatherings 
around economics in various cultural formats (bistros, studios, 
galleries, etc). The Econ Salons began during the early days of the TARP 
bailout for financial institutions in 2008 when so many of us were 
quickly learning about the financial mess (here is a description of past 
econ salons <http://www.thetangentpress.org/econsalon.html>). Now, two 
years later, I am interested in furthering those efforts through a 
poetic practice that brings together vigilance, investigation, and 
conversation.

Updates on the Happy Valley Project 
<http://thehappyvalleyproject.wordpress.com/> are here.

All best,

Kaia


/The Happy Valley Project is supported by a project grant from the 
Regional Arts and Culture Council. /

The Happy Valley Project / 412 NW Couch Street  / Studio 414 
http://thehappyvalleyproject.wordpress.com/

http://www.pen.org/members/sand/
http://www.archiveofthenow.org/authors/kaiasand/home.html
http://www.oregonauthors.org/authors/author.php?author_id=31 
<http://www.oregonauthors.org/authors/author.php?author_id=317>


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<div class="moz-text-html" lang="x-western"><font
 class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><i>from Kaia Sand:</i><br>
<br>
Dear All,</span></font>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><br>
</span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;">This fall I have
several Portland events connected to my ongoing Happy Valley Project.&nbsp;<br>
</span></font>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><br>
</span></font></div>
<div><b><font class="Apple-style-span" face="Arial" size="4"><span
 class="Apple-style-span" style="font-size: 14px;">Oct 7, 7 PM /&nbsp;First
Thursday / An&nbsp;</span></font></b><b><font class="Apple-style-span"
 face="Arial" size="4"><span class="Apple-style-span"
 style="font-size: 14px;">Econ Salon</span></font></b><font
 class="Apple-style-span" face="Arial" size="4"><span
 class="Apple-style-span" style="font-size: 14px;">&nbsp;</span><font
 class="Apple-style-span" face="'Times New Roman'">/
poetry &amp; the recession /&nbsp;Oct 7, 7 PM /&nbsp;Jules Boykoff, Allison
Cobb,&nbsp;&amp;&nbsp;Kaia Sand will read poetry. Cynthia Nelson will perform&nbsp;her
"Money Song"&amp; brand-new "Sand Dollars/Paper Dollars" /&nbsp;This Econ
Salon will take place at&nbsp;412 NW Couch Street in Old Town&nbsp;(the entrance
is between 4th &amp; 5th), in The Happy Valley Project Studio, # 414 /
Other studios in the building will also be open for First Thursday.&nbsp;</font></font></div>
<div>
<div><b><font class="Apple-style-span" face="Arial" size="4"><span
 class="Apple-style-span" style="font-size: 14px;"><br>
</span></font></b></div>
<div><b><font class="Apple-style-span" face="Arial" size="4"><span
 class="Apple-style-span" style="font-size: 14px;">Nov 4 / First
Thursday / An Econ Salon</span></font></b><font class="Apple-style-span"
 face="'Times New Roman'" size="4"><span class="Apple-style-span"
 style="font-size: 14px;"> / stories &amp; games / details to
follow&nbsp;/&nbsp;412 NW Couch Street,&nbsp;The Happy Valley Project Studio #414 /</span></font></div>
<div><font class="Apple-style-span" face="Arial" size="4"><span
 class="Apple-style-span" style="font-size: 14px;"><br>
</span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="4"><span
 class="Apple-style-span" style="font-size: 14px;">I will also have
open studio hours during the month of November.&nbsp;</span></font></div>
<div><b><font class="Apple-style-span" face="Arial" size="4"><span
 class="Apple-style-span" style="font-size: 14px;"><br>
</span></font></b></div>
<div><b><font class="Apple-style-span" face="Arial" size="4"><span
 class="Apple-style-span" style="font-size: 14px;">Nov 28-Dec 5 / Econ
Salons</span></font></b><font class="Apple-style-span" face="Arial"
 size="4"><span class="Apple-style-span" style="font-size: 14px;"> and </span></font><b><font
 class="Apple-style-span" face="Arial" size="4"><span
 class="Apple-style-span" style="font-size: 14px;">other events</span></font></b><font
 class="Apple-style-span" face="Arial" size="4"><span
 class="Apple-style-span" style="font-size: 14px;">,<font
 class="Apple-style-span" face="'Times New Roman'"> including a TBD bus
tour, at</font></span></font><span class="Apple-style-span"
 style="border-collapse: collapse;"><font class="Apple-style-span"
 size="4"><span class="Apple-style-span" style="font-size: 14px;"><font
 class="Apple-style-span" face="'Times New Roman'">&nbsp;</font></span></font></span><span
 class="Apple-style-span" style="border-collapse: collapse;"><i><font
 class="Apple-style-span" size="4"><span class="Apple-style-span"
 style="font-size: 14px;"><font class="Apple-style-span"
 face="'Times New Roman'">Field Work</font></span></font></i></span><span
 class="Apple-style-span" style="border-collapse: collapse;"><font
 class="Apple-style-span" size="4"><span class="Apple-style-span"
 style="font-size: 14px;"><font class="Apple-style-span"
 face="'Times New Roman'">, a new gallery, storefront, and educational
place / 1011 SW Jefferson&nbsp;</font></span></font></span></div>
</div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><br>
</span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;">The Happy Valley
Project is a poetic investigation of the relationship between housing
foreclosures and financial speculation. G</span></font><span
 class="Apple-style-span"
 style="font-family: 'Times New Roman'; font-size: 18px;">rappling with
the high finance that furthers our economic turmoil seems like a good
job for poetry.&nbsp;</span><span class="Apple-style-span"
 style="font-family: 'Times New Roman'; font-size: 18px;">I
borrowed the name of this project from the nearby city that experienced
such a high foreclosure rate after the housing bubble burst.</span><span
 class="Apple-style-span"
 style="font-family: 'Times New Roman'; font-size: 18px;">&nbsp;</span><span
 class="Apple-style-span"
 style="font-family: 'Times New Roman'; font-size: 18px;">This project
gathers poets, musicians, economists and others, using&nbsp;</span><span
 class="Apple-style-span"
 style="font-family: 'Times New Roman'; font-size: 18px;">poetic form,
video, installation pieces, economics lecture, and music.</span></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><br>
</span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><span
 class="Apple-style-span"
 style="font-family: Helvetica; font-size: medium;"><font
 class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;">A
key format for the Happy Valley project is the Econ Salon, gatherings
around economics in various cultural formats (bistros, studios,
galleries, etc). The Econ Salons began during the early days of the
TARP bailout for financial institutions in 2008 when so many of us were
quickly learning about the financial mess (here is a description of
past&nbsp;<a href="http://www.thetangentpress.org/econsalon.html">econ salons</a>).
Now,
two years later, I am interested in furthering those efforts
through a poetic practice that brings together vigilance,
investigation, and conversation.&nbsp;</span></font></span></span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span"
 style="font-size: medium; font-family: Helvetica;"><font
 class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><br>
</span></font></span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><span
 class="Apple-style-span"
 style="font-family: Helvetica; font-size: medium;"><font
 class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;">Updates on the&nbsp;</span></font></span><span
 class="Apple-style-span"
 style="font-family: Helvetica; font-size: medium;"><a
 href="http://thehappyvalleyproject.wordpress.com/"><font
 class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;">Happy Valley Project</span></font></a></span><span
 class="Apple-style-span"
 style="font-family: Helvetica; font-size: medium;"><font
 class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;">&nbsp;are here.&nbsp;</span></font></span></span></font></div>
<div><span class="Apple-style-span"
 style="font-family: 'Times New Roman'; font-size: 18px;"><br>
</span></div>
<div><span class="Apple-style-span"
 style="font-family: 'Times New Roman'; font-size: 18px;">All best,</span></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><br>
</span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;">Kaia&nbsp;</span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><br>
</span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><br>
</span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><i>The Happy Valley
Project is supported by a project grant from the Regional Arts and
Culture Council.&nbsp;</i></span></font></div>
<div><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><br>
</span></font></div>
<div>
<div>
<div style="word-wrap: break-word;"><span class="Apple-style-span"
 style="border-collapse: separate; color: rgb(0, 0, 0); font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<div style="word-wrap: break-word;"><span class="Apple-style-span"
 style="border-collapse: separate; color: rgb(0, 0, 0); font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<div style="word-wrap: break-word;"><span class="Apple-style-span"
 style="border-collapse: separate; color: rgb(0, 0, 0); font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<div style="word-wrap: break-word;"><span class="Apple-style-span"
 style="border-collapse: separate; color: rgb(0, 0, 0); font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<div style="word-wrap: break-word;"><span class="Apple-style-span"
 style="border-collapse: separate; color: rgb(0, 0, 0); font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<div style="word-wrap: break-word;">
<div>
<div
 style="margin: 0px; font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; font-size: 12px; line-height: normal; font-size-adjust: none; font-stretch: normal;"><font
 class="Apple-style-span" color="#9c7cff"><font class="Apple-style-span"
 face="'Times New Roman'" size="5"><span class="Apple-style-span"
 style="font-size: 18px;">The Happy Valley Project / 412 NW Couch
Street &nbsp;/ Studio 414&nbsp;</span></font></font><span class="Apple-style-span"
 style="color: rgb(156, 124, 255);"><a
 href="http://thehappyvalleyproject.wordpress.com/"><font
 class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;">http://thehappyvalleyproject.wordpress.com/</span></font></a></span></div>
<div
 style="margin: 0px; font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; font-size: 12px; line-height: normal; font-size-adjust: none; font-stretch: normal;"><font
 class="Apple-style-span" color="#9c7cff"><font class="Apple-style-span"
 face="'Times New Roman'" size="5"><span class="Apple-style-span"
 style="font-size: 18px;"><br>
</span></font></font></div>
<div
 style="margin: 0px; font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; font-size: 12px; line-height: normal; font-size-adjust: none; font-stretch: normal;"><font
 class="Apple-style-span" color="#9c7cff"><a
 href="http://www.pen.org/members/sand/"><font class="Apple-style-span"
 face="'Times New Roman'" size="5"><span class="Apple-style-span"
 style="font-size: 18px;">http://www.pen.org/members/sand/</span></font></a></font></div>
</div>
<div><font class="Apple-style-span" color="#9c7cff"><a
 href="http://www.archiveofthenow.org/authors/kaiasand/home.html"><font
 class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;">http://www.archiveofthenow.org/authors/kaiasand/home.html</span></font></a></font></div>
</div>
</span><font class="Apple-style-span" color="#9c7cff">
<div
 style="margin: 0px; font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; font-size: 12px; line-height: normal; font-size-adjust: none; font-stretch: normal;"><a
 href="http://www.oregonauthors.org/authors/author.php?author_id=317"><font
 class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;">http://www.oregonauthors.org/authors/author.php?author_id=31</span></font></a></div>
</font></div>
</span></div>
</span></div>
</span></div>
</span><font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"><br
 class="Apple-interchange-newline">
</span></font></div>
<font class="Apple-style-span" face="'Times New Roman'" size="5"><span
 class="Apple-style-span" style="font-size: 18px;"></span></font> </div>
</div>
</div>
</div>
</body>
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Subject: [Spare Room Press Release] FWD: 10/15, Berrigan & Weiser
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/from Allison Cobb:/

Oct 15 Berrigan/Weiser reading: save the date

Poets Anselm Berrigan and Karen Weiser are coming to Portland all the 
way from New York City! Let's celebrate! Please join us for a reading on 
Friday, October 15 at 7 p.m. at the home of Allison Cobb and Jen 
Coleman: 7657 SE Stephens St. near Mt. Tabor.

There will be poet snacks. Please bring your favorite drink to share, 
and spread the word!

Karen Weiser is a mother, poet and doctoral candidate at the CUNY 
Graduate Center, studying early American literature. Her first book, /To 
Light Out/, was published in the spring by Ugly Duckling Presse. She has 
also published the following chapbooks: /Pitching Woo/ (Cy Press, Fall 
2006); /Heads Up Fever Pile/ (Belladonna, 2005); /Placefullness/ (Ugly 
Duckling Presse, 2004); /Eight Positive Trees/ (Pressed Wafer, 2002); 
and co-authored (with Nadine Maestas) /Beneath The Bright Discus/ (Potes 
and Poets Press, 2000).

Anselm Berrigan is the author of several books of poetry including /Free 
Cell/ (City Lights, 2009), /Some Notes on My Programming/ (Edge, 2006), 
/Zero Star Hotel/ (Edge, 2002) and /Integrity & Dramatic Life/ (Edge, 
1999). From 2003 to 2007, he served as artistic director at the St. 
Mark's Poetry Project in New York City. He is the current poetry editor 
for /The Brooklyn Rail/ (brooklynrail.org) and co-edited, with Edmund 
Berrigan and Alice Notley, the /Collected Poems of Ted Berrigan/ (UCal, 
2005) and the forthcoming /Selected Poems of Ted Berrigan/ (also UCal).



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<body bgcolor="#ffffff" text="#000000">
<i>from Allison Cobb:</i><br>
<br>
Oct 15 Berrigan/Weiser reading: save the date<br>
<div><br>
</div>
<div>Poets
Anselm Berrigan and Karen Weiser are coming to Portland all the way
from New York City! Let's celebrate! Please join us for a reading on
Friday, October 15 at 7 p.m. at the home of Allison Cobb and Jen
Coleman: 7657 SE Stephens St. near Mt. Tabor.<br>
<br>
There will be poet snacks. Please bring your favorite drink to share,
and spread the word!</div>
<p class="MsoNormal">Karen Weiser is a mother, poet and doctoral
candidate at the
CUNY Graduate Center, studying early American literature. Her first
book, <i style="">To Light Out</i>, was published in the
spring by Ugly Duckling Presse. She has also published the following
chapbooks:
<i style="">Pitching Woo</i> (Cy Press, Fall 2006); <i style="">Heads
Up Fever Pile</i> (Belladonna, 2005); <i style="">Placefullness</i>
(Ugly Duckling Presse,
2004); <i style="">Eight Positive Trees</i> (Pressed
Wafer, 2002); and co-authored (with Nadine Maestas) <i style="">Beneath
The Bright Discus</i> (Potes and Poets Press, 2000).</p>
<p class="MsoNormal">Anselm Berrigan is the author of several books of
poetry
including <i style="">Free Cell</i> (City Lights,
2009), <i style="">Some Notes on My Programming</i>
(Edge, 2006), <i style="">Zero Star Hotel</i> (Edge,
2002) and <i style="">Integrity &amp; Dramatic Life</i>
(Edge, 1999). From 2003 to 2007, he served as artistic director at the
St.
Mark's Poetry Project in New York City. He is the current poetry editor
for <i style="">The Brooklyn Rail</i> (brooklynrail.org) and
co-edited, with Edmund Berrigan and Alice Notley, the <i style="">Collected
Poems of Ted Berrigan</i> (UCal, 2005) and the forthcoming <i style="">Selected
Poems of Ted Berrigan</i> (also UCal).</p>
<br>
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Subject: [Spare Room Press Release] FWD: 10/16, Zolf, Wolach, & Shaw
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Tangent is pleased to host an investigative poetry extravaganza on 
SATURDAY, 16 October at 7 PM. All three writers use poetry as a way of 
investigating on-the-ground political history. New York-based poet and 
performer *RACHEL ZOLF *will be joined by Olympia writer and teacher 
*DAVID WOLACH* and local poet, editor, and teacher *B.T. SHAW.* The 
event will take place at our usual spot, the Clinton Corner Cafe. 
Admission is free.

Tangent presents:
*RACHEL ZOLF, DAVID WOLACH, & B.T. SHAW*
SATURDAY, OCTOBER 16 at 7 PM
Clinton Corner Cafe, 2633 SE 21st Ave. (@ Clinton), Portland
www.thetangentpress.org/readings.html 
<http://www.thetangentpress.org/readings.html>
Admission is free.
*

B.T. SHAW* lives in Portland, where she edits the Poetry column for The 
Oregonian. Her first collection, This Dirty Little Heart (Eastern 
Washington University Press, 2008), won the 2007 Blue Lynx Prize for 
Poetry. She teaches at Portland State University and the Independent 
Publishing Resource Center (despite her wariness of staplers).
*
DAVID WOLACH* is editor of Wheelhouse Magazine & Press and an active 
participant in Nonsite Collective. His most recent books are 
Occultations (Black Radish Books, 2010), the multi-media transliteration 
plus chapbook, Prefab Eulogies Volume 1: Nothings Houses (BlazeVox 
[books], 2010), the full-length Hospitalogy (chapbook forth. from 
Scantily Clad Press, 2010), and book alter(ed) (Ungovernable Press, 
2009). A former union organizer and performing artist, Wolach's work 
often begins as site-specific and interactive performance and ends up as 
shaped, written language. Wolach is professor of text arts, poetics, and 
aesthetics at The Evergreen State College, and visiting professor in 
Bard College's Workshop In Language & Thinking.

*RACHEL ZOLF*'s poetic practice explores interrelated materialist 
questions concerning memory, history, knowledge, subjectivity and the 
conceptual limits of language and meaning. She is particularly 
interested in how ethics founders on the shoals of the political. Her 
fourth full-length book, Neighbour Procedure, was released by Coach 
House Books in 2010. Previous collections include Human Resources (Coach 
House), which won the 2008 Trillium Book Award for Poetry, Masque (The 
Mercury Press), Shoot & Weep (Nomados), from Human Resources (Belladonna 
books) and Her absence, this wanderer (BuschekBooks). Born in Toronto, 
Canada, she lives in Brooklyn.

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</head>
<body bgcolor="#ffffff" text="#000000">
<div class="moz-text-html" lang="x-western">Tangent is pleased to host
an investigative poetry extravaganza on SATURDAY, 16 October at 7 PM.
All three writers use poetry as a way of investigating on-the-ground
political history. New York-based poet and performer&nbsp;<b>RACHEL ZOLF&nbsp;</b>will
be joined by Olympia writer and teacher&nbsp;<b>DAVID WOLACH</b>&nbsp;and local
poet, editor, and teacher&nbsp;<b>B.T. SHAW.</b>&nbsp;The event will take place
at our usual spot, the Clinton Corner Cafe. Admission is free.&nbsp;<br>
<br>
Tangent presents:<br>
<b>RACHEL ZOLF, DAVID WOLACH, &amp; B.T. SHAW</b><br>
SATURDAY, OCTOBER 16 at 7 PM<br>
Clinton Corner Cafe, 2633 SE 21st Ave. (@ Clinton), Portland<br>
<span style="color: rgb(0, 0, 237);"><a
 href="http://www.thetangentpress.org/readings.html">www.thetangentpress.org/readings.html</a></span><br>
Admission is free.<span style="color: rgb(0, 0, 237);"><br>
</span><b><br>
<br>
B.T. SHAW</b>&nbsp;lives in Portland, where she edits the Poetry column for
The&nbsp;<span style="font-style: italic;">Oregonian</span>. Her first
collection,&nbsp;<span style="font-style: italic;">This Dirty Little Heart</span>&nbsp;(Eastern
Washington
University Press, 2008), won the 2007 Blue Lynx Prize for
Poetry. She teaches at Portland State University and the Independent
Publishing Resource Center (despite her wariness of staplers).<br>
<b><br>
DAVID WOLACH</b>&nbsp;is editor of&nbsp;<span style="font-style: italic;">Wheelhouse
Magazine &amp; Press&nbsp;</span>and an active participant in Nonsite
Collective. His most recent books are&nbsp;<span style="font-style: italic;">Occultations&nbsp;</span>(Black
Radish Books, 2010), the multi-media transliteration plus chapbook,&nbsp;<span
 style="font-style: italic;">Prefab Eulogies Volume 1: Nothings Houses&nbsp;</span>(BlazeVox
[books], 2010), the full-length&nbsp;<span style="font-style: italic;">Hospitalogy&nbsp;</span>(chapbook
forth. from Scantily Clad Press, 2010), and&nbsp;<span
 style="font-style: italic;">book alter(ed)</span>&nbsp;(Ungovernable
Press, 2009). A former union organizer and performing artist, Wolach&#8217;s
work often begins as site-specific and interactive performance and ends
up as shaped, written language. Wolach is professor of text arts,
poetics, and aesthetics at The Evergreen State College, and visiting
professor in Bard College&#8217;s Workshop In Language &amp; Thinking.<br>
<br>
<b>RACHEL ZOLF</b>&#8217;s
poetic practice explores interrelated materialist questions concerning
memory, history, knowledge, subjectivity and the conceptual limits of
language and meaning. She is particularly interested in how ethics
founders on the shoals of the political. Her fourth full-length book,&nbsp;<span
 style="font-style: italic;">Neighbour Procedure</span>, was released
by Coach House Books in 2010. Previous collections include&nbsp;<span
 style="font-style: italic;">Human Resources&nbsp;</span>(Coach House),
which won the 2008 Trillium Book Award for Poetry,&nbsp;<span
 style="font-style: italic;">Masque</span>&nbsp;(The Mercury Press),&nbsp;<span
 style="font-style: italic;">Shoot &amp; Weep</span>&nbsp;(Nomados),&nbsp;<span
 style="font-style: italic;">from Human Resources</span>&nbsp;(Belladonna
books) and&nbsp;<span style="font-style: italic;">Her absence, this wanderer</span>&nbsp;(BuschekBooks).
Born in Toronto, Canada, she lives in Brooklyn.</div>
</body>
</html>

--------------060406000607000002070302--

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Spare Room presents

*Lewis Warsh
Alica Cohen*

Sunday, November 7
7:30 pm

/*Please note venue change

*/*The Waypost <http://www.thewaypost.com/>*
3120 N. Williams Ave.
503-367-3182

$5 suggested donation

*Lewis Warsh*'s most recent books are /A Place in the Sun /(Spuyten 
Duyvil, 2010) and /Inseparable: Poems 1995-2005/ (Granary, 2008). He is 
the editor and publisher of United Artists Books, and the director of 
the MFA program in creative writing at Long Island University in Brooklyn.

Poet and literary scholar *Alicia Cohen*'s /Debts and Obligations /was 
published by O Books in 2009; her first book /bEAR/ was released as an 
ebook by handwritten press. She teaches in the University Studies 
program at Portland State University and has previously taught at Reed 
College.

www.flim.com/spareroom
spareroom@flim.com

==================================================*
Upcoming Readings*

11/14   Les Figues Press group reading: /Jennifer Calkins, Amina Cain,
                  Doug Nufer, Pam Ore, & Christine Wertheim/
11/28 /Christian Hawkey & tba/
12/12 /Kristen Gallagher & Chris Alexander/
/     and/
1/14-16   A Marathon Reading of the /Maximus Poems/
==================================================


*DEAR COMMUNARD*

The satisfaction of human needs creates new needs
Marx said, just as a poem gives birth to another
Almost immediately after you finish the one before,
So there's no sense of completion and only an occasional
Word crossed out, deleted, "no completion" seems
To be the order of the day.

Something left out calls for its other,
A warm bed is all one needs, and the new poem is calling
But the operator is asleep, and the words are lost
And found again, that's the other theme--the ghosts
Of the past enter stage center, the animals and the street
People line up on the boardwalk, the ocean looms,
Scatterbrained birds of a feather fly south for the winter,
The deletions add up--the Hotel De Ville burns to the ground--
One wing of the Louvre is gone--a mural by Delacroix turns to ash--
The poem needs some sustenance but no one can
Give enough, that's what I was like when I was younger,
Insatiable, in my own way, so that people thought me strange
For wanting more than I had, but the mystery is in the words
"Never enough"--I might have worn them on my sleeve--
So what do you say we get down on our knees and pray
For some god of forgiveness to man the barricades?
Or do we take it as it is, as it goes, while remaining cognizant
Of what happened down through time,
All the thens and theres mingling with all the I's and yous
Until a direct address is delivered to all of Paris
On the day that 100,000 Prussians did a victory lap
Down Les Champs-Elysées--and it all really happened,

/Dear Communard./

*Lewis Warsh*


*The Point*

/Let us ask ourselves: why do we feel a grammatical joke to be deep?
(And that is what the depth of philosophy is.)/
--Ludwig Wittgenstein

poems rest
towers in misuses
endlessnesses
seeds and words are like the same thing
purely political
planting green beans and kale and so forth
back
to the seas over all the earth
and the fish wandering
in my dreams you died in and in my dreams
my dead friends live
we know by looking at the world does not shut
that
the dead
wake us in birth
spring equinox at the bottom of the cliffs near my childhood
stones cover the beach
and roll with the waves singing
these tidepools are poor
sea cucumber and sea snail and anemone
it's a speck of nothing so small you can only see
the world we love is full of fishes going going into stars
full of seeds
amino acids
and puns and rhymes
are all bad desires good
airs' sweet smell
ocean breeze dead poets
labworkers
poured full of animals peering out of your eyes

*Alicia Cohen*

--------------090305060700040002080501
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<html>
<head>

<meta http-equiv="content-type" content="text/html; charset=ISO-8859-1">
</head>
<body bgcolor="#ffffff" text="#000000">
Spare Room presents<br>
<br>
<b>Lewis Warsh<br>
Alica Cohen</b><br>
<br>
Sunday, November 7<br>
7:30 pm<br>
<br>
<i><b>Please note venue change<br>
<br>
</b></i><b><a href="http://www.thewaypost.com/">The Waypost</a></b><br>
3120 N. Williams Ave.<br>
503-367-3182<br>
<br>
$5 suggested donation<br>
<br>
<div><b>Lewis Warsh</b>'s most recent books are <i>A Place in the Sun </i>(Spuyten
Duyvil, 2010) and <i>Inseparable: Poems 1995-2005</i>
(Granary, 2008). He is the editor and publisher of United Artists
Books, and
the director of the MFA program in creative writing at Long Island
University in Brooklyn.<br>
<br>
Poet and literary scholar <b>Alicia&nbsp;Cohen</b>'s <em>Debts and
Obligations&nbsp;</em>was published by O Books in 2009; her&nbsp;first book <em>bEAR</em>
was released as an ebook by&nbsp;handwritten press.&nbsp;She teaches in the
University&nbsp;Studies program at Portland State University and has
previously taught at
Reed College.<br>
<br>
<a class="moz-txt-link-abbreviated" href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
==================================================<b><br>
Upcoming Readings</b><br>
<br>
11/14 &nbsp; Les Figues Press group reading: <i>Jennifer Calkins, Amina
Cain, <br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Doug Nufer, Pam Ore, &amp; Christine Wertheim</i><br>
11/28&nbsp;&nbsp; <i>Christian Hawkey &amp; tba</i><br>
12/12 &nbsp; <i>Kristen Gallagher &amp; Chris Alexander</i><br>
<i>&nbsp;&nbsp;&nbsp;&nbsp; and</i><br>
1/14-16&nbsp;&nbsp; A Marathon Reading of the <i>Maximus Poems</i><br>
==================================================<br>
<br>
<br>
<b>DEAR COMMUNARD</b><br>
<br>
The satisfaction of human needs creates new needs<br>
Marx said, just as a poem gives birth to another<br>
Almost immediately after you finish the one before,<br>
So there's no sense of completion and only an occasional<br>
Word crossed out, deleted, "no completion" seems<br>
To be the order of the day. <br>
<br>
Something left out calls for its other,&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br>
A warm bed is all one needs, and the new poem is calling<br>
But the operator is asleep, and the words are lost<br>
And found again, that's the other theme--the ghosts<br>
Of the past enter stage center, the animals and the street<br>
People line up on the boardwalk, the ocean looms, <br>
Scatterbrained birds of a feather fly south for the winter, <br>
The deletions add up--the Hotel De Ville burns to the ground--<br>
One wing of the Louvre is gone--a mural by Delacroix turns to ash--<br>
The poem needs some sustenance but no one can <br>
Give enough, that's what I was like when I was younger, <br>
Insatiable, in my own way, so that people thought me strange <br>
For wanting more than I had, but the mystery is in the words <br>
"Never enough"--I might have worn them on my sleeve--<br>
So what do you say we get down on our knees and pray <br>
For some god of forgiveness to man the barricades?<br>
Or do we take it as it is, as it goes, while remaining cognizant <br>
Of what happened down through time,<br>
All the thens and theres mingling with all the I's and yous<br>
Until a direct address is delivered to all of Paris<br>
On the day that 100,000 Prussians did a victory lap <br>
Down Les Champs-Elys&eacute;es--and it all really happened,<br>
<br>
<i>Dear Communard.</i><br>
<br>
<b>Lewis Warsh</b><br>
<br>
<br>
<b>The Point</b><br>
&nbsp;<br>
<i>Let us ask ourselves: why do we feel a grammatical joke to be deep? <br>
(And that is what the depth of philosophy is.)</i><br>
--Ludwig Wittgenstein<br>
&nbsp;<br>
poems rest<br>
towers in misuses<br>
endlessnesses<br>
seeds and words are like the same thing<br>
purely political<br>
planting green beans and kale and so forth<br>
back<br>
to the seas over all the earth<br>
and the fish wandering<br>
in my dreams you died in and in my dreams<br>
my dead friends live<br>
we know by looking at the world does not shut<br>
that<br>
the dead<br>
wake us in birth<br>
spring equinox at the bottom of the cliffs near my childhood<br>
stones cover the beach<br>
and roll with the waves singing<br>
these tidepools are poor<br>
sea cucumber and sea snail and anemone<br>
it's a speck of nothing so small you can only see<br>
the world we love is full of fishes going going into stars<br>
full of seeds<br>
amino acids<br>
and puns and rhymes<br>
are all bad desires good<br>
airs' sweet smell<br>
ocean breeze dead poets<br>
labworkers<br>
poured full of animals peering out of your eyes<br>
<br>
<b>Alicia Cohen</b><br>
</div>
</body>
</html>

--------------090305060700040002080501--

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Spare Room presents

/*Les Figues Press*:/
*Amina Cain, Jennifer Calkins, Doug Nufer,
Pam Ore, & Christine Wertheimer
*
Sunday, November 14
7:30 pm/*

*/*The Waypost <http://www.thewaypost.com/>*
3120 N. Williams Ave.
503-367-3182

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com

==================================================*
Upcoming Readings*
11/7 /Lewis Warsh & Alicia Cohen/
11/14 /Les Figues Press/
11/28 /Christian Hawkey & tba/
12/12 /Kristen Gallagher & Chris Alexander/
1/14-16   A Marathon Reading of the /Maximus Poems/
==================================================

*Les Figues Press* (www.lesfigues.com) is an independent, nonprofit 
literary press located in Los Angeles. Their mission is "to create 
aesthetic conversation between readers, writers, and artists, especially 
those interested in innovative/experimental/avant-garde work."

*Amina Cain*'s books include /I Go To Some Hollow/ (Les Figues), and an 
upcoming chapbook /Tramps Everywhere/ (Insert/PARROT Series). This 
summer her work was featured at LACE  (Los Angeles Contemporary 
Exhibitions) as part of NOT CONTENT, a series of text projects curated 
by Les Figues. Amina's writing also appears in /The Encyclopedia Project 
(F-K)/, and /Wreckage of Reason: Xxperimental Prose by Women Writers/. 
She lives in Los Angeles.

*Jennifer Calkins* is an evolutionary biologist and writer in Seattle. 
Her most recent book is /A Story of Witchery/, published by Les Figues 
Press. She can, at times, be found at www.jenniferdevlincalkins.net.

*Doug Nufer* is the author of a poetry collection and numerous novels, 
including /By Kelman Out of Pessoa/, forthcoming from Les Figues, which 
also provides an invaluable public service in tough financial times by 
revealing how you can be a winner at the races. He lives in Seattle.

*Pam Ore* lives and works in Olympia, Washington. She has been published 
in several poetry journals and is currently working on her next 
manuscript. Her book /Grammar of the Cage/ was published by Les Figues 
in 2006.

*Christine Wertheim* is author of /'+'me'S-pace/ (Les Figues). She 
edited /Feminaissance/ (Les Figues), and with Matias Viegener coedited 
/Séance in Experimental Writing/ (Make Now) and //n/oulipian Analects/ 
(Les Figues). She writes regularly for /X-tra/ and /Cabinet/; 
works-in-progress include a poetic suite on Mothers and an exercise in 
style, "How to Conceive a Poem." She is Chair of the MFA Writing Program 
at Cal Arts.


--------------010602000402000008080208
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</head>
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<div class="moz-text-html" lang="x-western">
Spare Room presents<br>
<br>
<i><b>Les Figues Press</b>:</i><br>
<b>Amina Cain, Jennifer Calkins, Doug Nufer, <br>
Pam Ore, &amp; Christine Wertheimer<br>
</b><br>
Sunday, November 14<br>
7:30 pm<i><b><br>
<br>
</b></i><b><a href="http://www.thewaypost.com/">The Waypost</a></b><br>
3120 N. Williams Ave.<br>
503-367-3182<br>
<br>
$5 suggested donation<br>
<br>
<div><a class="moz-txt-link-abbreviated"
 href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
==================================================<b><br>
Upcoming Readings</b><br>
11/7&nbsp;&nbsp;&nbsp; <i>Lewis Warsh &amp; Alicia Cohen</i><br>
11/14&nbsp;&nbsp; <i>Les Figues Press</i><br>
11/28&nbsp;&nbsp; <i>Christian Hawkey &amp; tba</i><br>
12/12 &nbsp; <i>Kristen Gallagher &amp; Chris Alexander</i><br>
1/14-16&nbsp;&nbsp; A Marathon Reading of the <i>Maximus Poems</i><br>
==================================================<br>
<br>
<b>Les Figues Press</b> (<a class="moz-txt-link-abbreviated"
 href="http://www.lesfigues.com">www.lesfigues.com</a>) is an
independent, nonprofit
literary press located in Los Angeles. Their mission is "to create
aesthetic conversation between readers, writers, and artists,
especially those interested in innovative/experimental/avant-garde
work." <br>
<br>
<b>Amina Cain</b>'s books include <i>I Go To Some Hollow</i> (Les
Figues),
and an upcoming chapbook <i>Tramps Everywhere</i> (Insert/PARROT
Series). This summer her work was featured at LACE&nbsp; (Los Angeles
Contemporary Exhibitions) as part of NOT CONTENT, a series of text
projects curated by Les Figues. Amina&#8217;s writing also appears in <i>The
Encyclopedia Project (F-K)</i>, and <i>Wreckage of Reason:
Xxperimental Prose by Women Writers</i>. She lives in Los Angeles.<br>
<br>
<b>Jennifer Calkins</b> is an evolutionary biologist and writer in
Seattle.
Her most recent book is <i>A Story of Witchery</i>, published by Les
Figues Press. She can, at times, be found at
<a class="moz-txt-link-abbreviated"
 href="http://www.jenniferdevlincalkins.net">www.jenniferdevlincalkins.net</a>.<br>
<br>
<b>Doug Nufer</b> is the author of a poetry collection and numerous
novels,
including <i>By Kelman Out of Pessoa</i>, forthcoming from Les Figues,
which also provides an invaluable public service in tough financial
times by revealing how you can be a winner at the races. He lives in
Seattle.<br>
<br>
<b>Pam Ore</b> lives and works in Olympia, Washington. She has been
published
in several poetry journals and is currently working on her next
manuscript. Her book <i>Grammar of the Cage</i> was published by Les
Figues in 2006.<br>
<br>
<b>Christine Wertheim</b> is author of&nbsp; <i>'+'me'S-pace</i> (Les
Figues). She
edited <i>Feminaissance</i> (Les Figues), and with Matias Viegener
coedited <i>S&eacute;ance in Experimental Writing</i> (Make Now) and <i>/n/oulipian
Analects</i> (Les Figues). She writes regularly for&nbsp; <i>X-tra</i> and <i>Cabinet</i>;
works-in-progress
include a poetic suite on Mothers and an exercise in
style, "How to Conceive a Poem." She is Chair of the MFA Writing
Program at Cal Arts.<br>
<br>
</div>
</div>
</body>
</html>

--------------010602000402000008080208--

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Spare Room presents

/*Les Figues Press*:/
*Amina Cain, Jennifer Calkins, Doug Nufer,
Pam Ore, Matthew Timmons, & Christine Wertheim
*
Sunday, November 14
7:30 pm/*

*/*The Waypost <http://www.thewaypost.com/>*
3120 N. Williams Ave.
503-367-3182

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com

==================================================*
Upcoming Readings*
11/28 /Christian Hawkey & Waiting for Stretchers/
12/12 /Kristen Gallagher & Chris Alexander/
1/14-16 /A Marathon Reading of the /Maximus Poems
2/12 /Leslie Scalapino memorial reading and celebration/
             (sponsored by Reed College and Spare Room)
==================================================

*Les Figues Press* (www.lesfigues.com) is an independent, nonprofit 
literary press located in Los Angeles. Their mission is "to create 
aesthetic conversation between readers, writers, and artists, especially 
those interested in innovative/experimental/avant-garde work."

*Amina Cain*'s books include /I Go To Some Hollow/ (Les Figues), and an 
upcoming chapbook /Tramps Everywhere/ (Insert/PARROT Series). This 
summer her work was featured at LACE  (Los Angeles Contemporary 
Exhibitions) as part of NOT CONTENT, a series of text projects curated 
by Les Figues. Amina's writing also appears in /The Encyclopedia Project 
(F-K)/, and /Wreckage of Reason: Xxperimental Prose by Women Writers/. 
She lives in Los Angeles.

*Jennifer Calkins* is an evolutionary biologist and writer in Seattle. 
Her most recent book is /A Story of Witchery/, published by Les Figues 
Press. She can, at times, be found at www.jenniferdevlincalkins.net.

*Doug Nufer* is the author of a poetry collection and numerous novels, 
including /By Kelman Out of Pessoa/, forthcoming from Les Figues, which 
also provides an invaluable public service in tough financial times by 
revealing how you can be a winner at the races. He lives in Seattle.

*Pam Ore* lives and works in Olympia, Washington. She has been published 
in several poetry journals and is currently working on her next 
manuscript. Her book /Grammar of the Cage/ was published by Les Figues 
in 2006.

*Mathew Timmons* work includes /The New Poetics/ (Les Figues),/ //Sound 
Noise/ (Little Red Leaves),/ //The Archanoids /(a cd of solo and 
collaborative sound poetries), /CREDIT/ (Blanc Press), and /Lip Service/ 
(Slack Buddha). Forthcoming projects include two chapbooks: /Where is it 
Written?/ from Imioplex Press, and /After Darío/ from Molo Press. His 
visual and performance work has been shown widely. Mathew works as the 
General Director of General Projects, editor of Insert Press, and Los 
Angeles editor of /Joyland/.

*Christine Wertheim* is the author of /'+'me'S-pace/ (Les Figues). She 
edited /Feminaissance/ (Les Figues), and with Matias Viegener coedited 
/Séance in Experimental Writing/ (Make Now) and //n/oulipian Analects/ 
(Les Figues). She writes regularly for /X-tra/ and /Cabinet/; 
works-in-progress include a poetic suite on Mothers and an exercise in 
style, "How to Conceive a Poem." She is Chair of the MFA Writing Program 
at Cal Arts.

--------------050103020605080200070100
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<div class="moz-text-html" lang="x-western">Spare Room presents<br>
<br>
<i><b>Les Figues Press</b>:</i><br>
<b>Amina Cain, Jennifer Calkins, Doug Nufer, <br>
Pam Ore, Matthew Timmons, &amp; Christine Wertheim<br>
</b><br>
Sunday, November 14<br>
7:30 pm<i><b><br>
<br>
</b></i><b><a href="http://www.thewaypost.com/">The Waypost</a></b><br>
3120 N. Williams Ave.<br>
503-367-3182<br>
<br>
$5 suggested donation<br>
<br>
<div><a class="moz-txt-link-abbreviated"
 href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
==================================================<b><br>
Upcoming Readings</b><br>
11/28&nbsp;&nbsp; <i>Christian Hawkey &amp; Waiting for Stretchers</i><br>
12/12 &nbsp; <i>Kristen Gallagher &amp; Chris Alexander</i><br>
1/14-16&nbsp;&nbsp; <i>A Marathon Reading of the </i>Maximus Poems<br>
2/12&nbsp;&nbsp;&nbsp;&nbsp; <i>Leslie Scalapino memorial reading and celebration</i><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (sponsored by Reed College and Spare Room)<br>
==================================================<br>
<br>
<b>Les Figues Press</b> (<a class="moz-txt-link-abbreviated"
 href="http://www.lesfigues.com">www.lesfigues.com</a>) is an
independent, nonprofit
literary press located in Los Angeles. Their mission is "to create
aesthetic conversation between readers, writers, and artists,
especially those interested in innovative/experimental/avant-garde
work." <br>
<br>
<b>Amina Cain</b>'s books include <i>I Go To Some Hollow</i> (Les
Figues),
and an upcoming chapbook <i>Tramps Everywhere</i> (Insert/PARROT
Series). This summer her work was featured at LACE&nbsp; (Los Angeles
Contemporary Exhibitions) as part of NOT CONTENT, a series of text
projects curated by Les Figues. Amina&#8217;s writing also appears in <i>The
Encyclopedia Project (F-K)</i>, and <i>Wreckage of Reason:
Xxperimental Prose by Women Writers</i>. She lives in Los Angeles.<br>
<br>
<b>Jennifer Calkins</b> is an evolutionary biologist and writer in
Seattle.
Her most recent book is <i>A Story of Witchery</i>, published by Les
Figues Press. She can, at times, be found at
<a class="moz-txt-link-abbreviated"
 href="http://www.jenniferdevlincalkins.net">www.jenniferdevlincalkins.net</a>.<br>
<br>
<b>Doug Nufer</b> is the author of a poetry collection and numerous
novels,
including <i>By Kelman Out of Pessoa</i>, forthcoming from Les Figues,
which also provides an invaluable public service in tough financial
times by revealing how you can be a winner at the races. He lives in
Seattle.<br>
<br>
<b>Pam Ore</b> lives and works in Olympia, Washington. She has been
published
in several poetry journals and is currently working on her next
manuscript. Her book <i>Grammar of the Cage</i> was published by Les
Figues in 2006.<br>
<br>
<span><b>Mathew Timmons</b> </span>work includes <i><span>The New
Poetics</span></i><span> (Les Figues),</span><i> </i><i><span>Sound
Noise</span></i><span> (Little Red Leaves),</span><i> </i><i><span>The
Archanoids </span></i><span>(a cd of solo and
collaborative sound poetries), </span><i>CREDIT</i>
(Blanc Press), and <i>Lip Service</i> (Slack
<span
 style="border-bottom: 2px dotted rgb(54, 99, 136); background: transparent none repeat scroll 0% 0%; -moz-background-clip: border; -moz-background-origin: padding; -moz-background-inline-policy: continuous;">Buddha</span>).<span>
</span>Forthcoming projects
include <span>two chapbooks: <i>Where is it Written?</i> from
Imioplex
Press, and <i>After Dar&iacute;o</i> from Molo
Press. His visual and performance work has been shown widely. Mathew
works as the
General Director of General Projects, editor of Insert Press, and Los
Angeles
editor of <i>Joyland</i></span><span>.</span><br>
<br>
<b>Christine Wertheim</b> is the author of&nbsp; <i>'+'me'S-pace</i> (Les
Figues). She
edited <i>Feminaissance</i> (Les Figues), and with Matias Viegener
coedited <i>S&eacute;ance in Experimental Writing</i> (Make Now) and <i>/n/oulipian
Analects</i> (Les Figues). She writes regularly for&nbsp; <i>X-tra</i> and <i>Cabinet</i>;
works-in-progress
include
a
poetic
suite on Mothers and an exercise in
style, "How to Conceive a Poem." She is Chair of the MFA Writing
Program at Cal Arts.</div>
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from Geneva Chao:

The Portland Fiction Project Presents
*The BENEFIT of DOUBT*
A Performance Fundraiser for Domestic Violence Awareness
Wednesday, December 8th, 2010
Alberta Rose Theatre
$10 at the Door
Doors at 7:30, Show Starts at 8:00
**Join local writers ALICE CLARK, GENEVA CHAO, GEORGE RACHEL, SHANNA 
SEESZ and SCOTT WARFE for this special performance fundraiser for 
Domestic Violence Awareness. Local playwright, author and activist RENEE 
MITCHELL will be performing a piece from her play Tangoing With 
Tornadoes, and local cellist KENDRA CARPENTER and the band FUTURE 
HISTORIANS will provide musical accompaniment. Also featuring dance 
troupe TRIP THE DARK.
All proceeds to benefit the YWCA and BRADLEY ANGLE.
*The Project:* Over the past five weeks of workshopping, our writers 
have written a DV-focused fiction piece each week inspired by a prompt 
(example: "Call one thing another's name long enough, it will answer"), 
the best of these pieces to be performed at the Alberta Rose performance 
on December 8th.
*About the Portland Fiction Project:* The Portland Fiction Project was 
an experimental writing group that met weekly and explored suggested 
themes and specific words through short stories, publishing the result 
in its online publication at portlandfiction.net 
<http://portlandfiction.net/>.
*About Bradley Angle:* Bradley Angle offers survivors of domestic and 
sexual violence options for safety, empowerment, healing and hope, while 
collaborating with our communities to create social change.
*About the YWCA:* The YWCA of Greater Portland changes lives by 
empowering women and their families to achieve safety, opportunity and 
independence. Yolanda House is their domestic violence shelter and 
resource center for survivors of abuse. Last year, Yolanda House served 
145 women and children.
*Tickets available at the door or by going to The Alberta Rose Theatre 
website <http://www.albertarosetheatre.com/?p=1907>.*


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<div>
<div>from Geneva Chao:<br>
<br>
The Portland Fiction Project Presents</div>
<div>&nbsp;</div>
<div><b>The BENEFIT of DOUBT</b></div>
<div>&nbsp;</div>
<div>A Performance Fundraiser for Domestic Violence Awareness</div>
<div>&nbsp;</div>
<div>Wednesday, December 8th, 2010</div>
<div>Alberta Rose Theatre</div>
<div>&nbsp;</div>
<div>$10 at the Door<br>
Doors at 7:30, Show Starts at 8:00</div>
<div>&nbsp;</div>
<div><strong></strong>Join
local writers ALICE CLARK, GENEVA CHAO, GEORGE RACHEL, SHANNA SEESZ and
SCOTT WARFE for this special performance fundraiser for Domestic
Violence Awareness. Local playwright, author and activist RENEE
MITCHELL will be performing a piece from her play Tangoing With
Tornadoes, and local cellist KENDRA CARPENTER and the band FUTURE
HISTORIANS will provide musical accompaniment. Also featuring dance
troupe TRIP THE DARK.</div>
<div>&nbsp;</div>
<div>All proceeds to benefit the YWCA and BRADLEY ANGLE.</div>
<div>&nbsp;</div>
<div><strong>The Project:</strong>&nbsp;Over
the past five weeks of workshopping, our writers have written a
DV-focused fiction piece each week inspired by a prompt (example: &#8220;Call
one thing another&#8217;s name long enough, it will answer&#8221;), the best of
these pieces to be performed at the Alberta Rose performance on
December 8th.</div>
<div>&nbsp;</div>
<div><strong>About the Portland Fiction Project:</strong>&nbsp;The
Portland Fiction Project was an experimental writing group that met
weekly and explored suggested themes and specific words through short
stories, publishing the result in its online publication at&nbsp;<a
 href="http://portlandfiction.net/">portlandfiction.net</a>.</div>
<div>&nbsp;</div>
<div><strong>About Bradley Angle:</strong>&nbsp;Bradley
Angle offers survivors of domestic and sexual violence options for
safety, empowerment, healing and hope, while collaborating with our
communities to create social change.</div>
<div>&nbsp;</div>
<div><strong>About the YWCA:</strong>&nbsp;The
YWCA of Greater Portland changes lives by empowering women and their
families to achieve safety, opportunity and independence. Yolanda
House&nbsp;is their&nbsp;domestic violence shelter and resource center for
survivors of abuse. Last year, Yolanda House served 145 women and
children.</div>
<div>&nbsp;</div>
<div><strong>Tickets available at the door or by going to The Alberta
Rose Theatre&nbsp;<a href="http://www.albertarosetheatre.com/?p=1907">website</a>.</strong></div>
</div>
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Spare Room presents

*Kristen Gallagher
Chris Alexander
*
Sunday, December 12
7:30 pm/*
*/
*The Waypost*
3120 N. Williams Ave.
503-367-3182

$5 suggested donation

www.flim.com/spareroom
spareroom@flim.com

==================================================*
Upcoming Readings*
1/14-16 /Charles Olson Centennial/:
                 Marathon Reading of the /Maximus Poems/
2/6 /Cedar Sigo/ and tba
2/12 /Leslie Scalapino memorial reading and celebration/
            (cosponsored with Reed College)
==================================================

*Kristen Gallagher* has a Ph.D. from SUNY Buffalo, where she studied in 
the Poetics Program. She currently teaches Creative Writing at City 
University of New York. Her most recent book /We Are Here/ is due out in 
December 2010.

*Chris Alexander*'s work has been described as "selective large-scale 
appropriation" that focuses on the presentation of cultural artifacts 
(fan writing and promotional materials, novels and soap operas) and on 
technical and sub-technical discourse (phone books, US Patent Office 
documents, machine translations). Most recently, he was involved in the 
production of a four-volume series of machine translations that rendered 
Tan Lin's /Seven Controlled Vocabularies/ in fractured Chinese and then 
returned it to English 
<http://aphasic-letters.com/edit/publications.html>. His first book of 
poetry, /Panda/, is forthcoming from Truck Books. Alexander's current 
work, /68826567857665/, involves using a computer program to translate 
Bram Stoker's /Dracula/ into ASCII code. He works as an Assistant 
Professor of English at LaGuardia Community College in Queens, NY.


*Botanical*

/Nature is not natural and that is natural enough./
                     -- Gertrude Stein

collect features
collect surprises
collect yourself
like stones and hills

on the website it is
"a living museum"

variety is
the timing
of the park
shrubs                     demarcated
               space

pulling the tensions that animate
the plant
shape its
growing
radically de-natured

O Nineteenth Century --
Is the timing
of the botanical
garden plants
and shrubs really
more pleasing
than the room full
of stuffed dead animals

   [a bus pulls off]

A voice from nowhere:
"You can't sit over here on this grass."
[security guard approaches]
"Where can we sit?" "Cherry Lane"
"You're not allowed to sit on this grass."

nearby neighborhood park
trash and dog shit
the city presents so many hard lines and rigid structures
it is very important to experience the city
the garden does that too but the visibility of that is not as immediate
presenting the natural but by virtue of the city
it is very important to experience the garden
the collection of softening features
as long as you mostly only look at them
the security guard points us out
it is very important to experience the gift shop

*Kristen Gallagher*


*from /Panda/*

A panda who embarks on a "hero's journey" à la the Shaw Brothers classic 
"Master Killer." A Panda who has a goose for a father. A rude panda 
barging in and demanding to learn kung fu. A panda who trains hard to 
become wise, fearless, and talented---not to lose weight. A panda whose 
fatness is not represented in a body positive way. A panda who can pull 
himself up by those good old Horatio Alger bootstraps and do it all by 
himself. A panda who, when he saw cookies, he did whatever he could to 
get to the cookies---he acted, he didn't think. That action is what 
makes the difference. A panda whose whole ancient China thing worked 
really well I thought. A panda designed to capitalize on a growing 
Chinese-world marketplace with a story set in an uncontroversial ancient 
China and featuring the one uniquely Chinese export that Westerners 
love--acrobatic martial arts. A panda who brings a profound free market 
message that I could not only relate to, but actually almost choked me 
up. A panda who expresses the Buddhist-Eastern surrender to fate and 
acceptance of powerlessness. "You can plant a peach seed, but no matter 
what you want it to be, it will be a peach tree." Fine. A panda who's 
pretty much a washout. A hopeless panda loser that goes from zero to 
hero in about one day of intense training. A panda doing Kungfu, very 
mediocre. A panda who fails when he tries to adapt to the accepted forms 
of Kung Fu. A big fat panda who treats it like a joke. 
?????????,????????? ? A panda who the villian could have turned into 
paste. A panda who is rooted in our I-wish-I-were-that-cool society. A 
panda who is a lazy emotional eater. ?????????????? ?A panda who is 
mocked by his condescending peers. A panda the other animals badger into 
giving up. (That panda will never complete his mission.)(It is not a 
panda.) A panda who is not even modeled on a live panda.

*Chris Alexander*

**

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</head>
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<div class="moz-text-html" lang="x-western">
<div class="moz-text-html" lang="x-western">
<div class="moz-text-html" lang="x-western">Spare Room presents<br>
<br>
<b>Kristen Gallagher<br>
Chris Alexander<br>
</b><br>
Sunday, December 12<br>
7:30 pm<i><b><br>
</b></i><br>
<b>The Waypost</b><br>
3120 N. Williams Ave.<br>
503-367-3182<br>
<br>
$5 suggested donation<br>
<br>
<div><a class="moz-txt-link-abbreviated"
 href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
<br>
==================================================<b><br>
Upcoming Readings</b><br>
1/14-16&nbsp;&nbsp; <i>Charles Olson Centennial</i>:<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Marathon Reading of the <i>Maximus Poems</i><br>
2/6&nbsp;&nbsp;&nbsp;&nbsp; <i>Cedar Sigo</i> and tba<br>
2/12&nbsp;&nbsp; <i>Leslie Scalapino memorial reading and celebration</i><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (cosponsored with Reed College)<br>
==================================================<br>
<br>
<b>Kristen Gallagher</b> has a Ph.D. from SUNY Buffalo, where she
studied in the Poetics Program. She currently teaches Creative Writing
at City University of New York. Her most recent book <i>We Are Here</i>
is due out in December 2010.<br>
<br>
<b>Chris Alexander</b>'s work has been described as "selective
large-scale appropriation" that focuses on the presentation of cultural
artifacts (fan writing and promotional materials, novels and soap
operas) and on technical and sub-technical discourse (phone books, US
Patent Office documents, machine translations). Most recently, he was
involved in the production of a four-volume series of machine
translations that rendered Tan Lin's <i>Seven Controlled Vocabularies</i>
in fractured Chinese and then returned it to English
<a class="moz-txt-link-rfc2396E" href="http://aphasic-letters.com/edit/publications.html">&lt;http://aphasic-letters.com/edit/publications.html&gt;</a>. His first
book of poetry, <i>Panda</i>, is forthcoming from Truck Books.
Alexander's current work, <i>68826567857665</i>, involves using a
computer program to translate Bram Stoker's <i>Dracula</i> into ASCII
code. He works as an Assistant Professor of English at LaGuardia
Community College in Queens, NY.<br>
<br>
<br>
<b>Botanical</b><br>
<br>
<i>Nature is not natural and that is natural enough.</i><br>
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; -- Gertrude Stein<br>
<br>
collect features<br>
collect surprises<br>
collect yourself<br>
like stones and hills<br>
<br>
on the website it is<br>
"a living museum"<br>
<br>
variety is<br>
the timing<br>
of the park<br>
shrubs&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; demarcated<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; space<br>
<br>
pulling the tensions that animate<br>
the plant<br>
shape its<br>
growing<br>
radically de-natured<br>
<br>
O Nineteenth Century --<br>
Is the timing <br>
of the botanical<br>
garden plants<br>
and shrubs really<br>
more pleasing<br>
than the room full<br>
of stuffed dead animals<br>
<br>
&nbsp; [a bus pulls off]<br>
<br>
A voice from nowhere:<br>
"You can't sit over here on this grass."<br>
[security guard approaches]<br>
"Where can we sit?" "Cherry Lane"<br>
"You're not allowed to sit on this grass."<br>
<br>
nearby neighborhood park<br>
trash and dog shit<br>
the city presents so many hard lines and rigid structures<br>
it is very important to experience the city<br>
the garden does that too but the visibility of that is not as immediate<br>
presenting the natural but by virtue of the city<br>
it is very important to experience the garden<br>
the collection of softening features<br>
as long as you mostly only look at them<br>
the security guard points us out<br>
it is very important to experience the gift shop<br>
<br>
<b>Kristen Gallagher</b><br>
<br>
<br>
<b>from <i>Panda</i></b><br>
<br>
A panda who embarks on a "hero's journey" &agrave; la the Shaw Brothers
classic "Master Killer." A Panda who has a goose for a father. A rude
panda barging in and demanding to learn kung fu. A panda who trains
hard to become wise, fearless, and talented-&#8211;not to lose weight. A
panda whose fatness is not represented in a body positive way. A panda
who can pull himself up by those good old Horatio Alger bootstraps and
do it all by himself. A panda who, when he saw cookies, he did whatever
he could to get to the cookies&#8211;-he acted, he didn&#8217;t think. That action
is what makes the difference. A panda whose whole ancient China thing
worked really well I thought. A panda designed to capitalize on a
growing Chinese-world marketplace with a story set in an
uncontroversial ancient China and featuring the one uniquely Chinese
export that Westerners love--acrobatic martial arts. A panda who brings
a profound free market message that I could not only relate to, but
actually almost choked me up. A panda who expresses the
Buddhist-Eastern surrender to fate and acceptance of powerlessness.
"You can plant a peach seed, but no matter what you want it to be, it
will be a peach tree." Fine. A panda who's pretty much a washout. A
hopeless panda loser that goes from zero to hero in about one day of
intense training. A panda doing Kungfu, very mediocre. A panda who
fails when he tries to adapt to the accepted forms of Kung Fu. A big
fat panda who treats it like a joke. &#19968;&#21482;&#21448;&#32933;&#21448;&#31528;&#30340;&#29066;&#29483;&#65292;&#26681;&#26412;&#19981;&#25226;&#21151;&#22827;&#24403;&#22238;&#20107; &#12290; A panda who
the villian could have turned into paste. A panda who is rooted in our
I-wish-I-were-that-cool society. A panda who is a lazy emotional eater.
&#37027;&#29066;&#29483;&#27704;&#36828;&#26080;&#27861;&#23436;&#25104;&#33258;&#24049;&#30340;&#20351;&#21629; &#12290;A panda who is mocked by his condescending peers. A
panda the other animals badger into giving up. (That panda will never
complete his mission.)(It is not a panda.) A panda who is not even
modeled on a live panda. <br>
<br>
<b>Chris Alexander</b><br>
<br>
<b></b></div>
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*MAC Literary Arts Program*
/Group Reading/

*Instructors, students, & staff*
/past, present, future/

*reading from their work *
/           poetry, fiction, nonfiction/

*Friday, December 10, 7:00 pm*
/Free admission/

*Multnomah Arts Center Gallery*
7688 Southwest Capitol Highway
(503) 823-2787
www.multnomahartscenter.org


/*             Readers will include:*/

/David Abel                     Lyssa Tall Anolik
Marjorie Columbus       Conchi Corrado
Eileen Fromer               Dori Killian
Suzanne Lehman           Polly McGraw
Dave Molinari              Margot Moore-Wilson
Judith Pulman              Jon Ross
Gail Simmons               Clara Stemwedel
Leah Stenson                Hilda Welch/

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<b>MAC Literary Arts Program</b><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Group Reading</i><br>
<br>
<b>Instructors, students, &amp; staff</b><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>past, present, future</i><br>
<br>
<b>reading from their work </b><br>
<i>&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; poetry, fiction, nonfiction</i><br>
<br>
<b>Friday, December 10, 7:00 pm</b><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
<i>Free admission</i><br>
<br>
<b>Multnomah Arts Center Gallery</b><br>
7688 Southwest Capitol Highway<br>
(503) 823-2787<br>
<a class="moz-txt-link-abbreviated"
 href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a><br>
<br>
<br>
<i><b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
Readers will include:</b></i><br>
<br>
<i>David Abel &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Lyssa Tall Anolik<br>
Marjorie Columbus &nbsp;&nbsp; &nbsp;&nbsp; Conchi Corrado<br>
Eileen Fromer&nbsp;&nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; Dori Killian<br>
Suzanne Lehman&nbsp;&nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; Polly McGraw<br>
Dave Molinari&nbsp;&nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Margot Moore-Wilson<br>
Judith Pulman&nbsp;&nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jon Ross<br>
Gail Simmons&nbsp;&nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; Clara Stemwedel<br>
Leah Stenson&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; Hilda Welch</i><br>
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*Friday-Sunday, January 14-16, 2011

A Marathon Reading of /The Maximus Poems/ by Charles Olson (1910-1970)
*
Joining the many celebrations of Charles Olson's centennial that have 
taken place over the past year, Spare Room has organized a three-day 
marathon reading of Olson's book-length epic, /The Maximus Poems/.

*Friday, January 14, 4:00 - 9:00 pm*
Switchyard Studios <http://www.switchyardstudios.org/>    109 E Salmon 
Street
/Jacqueline Motzer, Jesse Morse, Zachary Schomburg, Christopher Luna, 
Dan Raphael, Laura Feldman, Michael Weaver, David Abel
/
*Saturday, January 15, 2:00 - 7:00 pm*
galleryHOMELAND <http://www.galleryhomeland.org/>    2505 SE 11th Avenue
/Alicia Cohen, Sam Lohmann, Jennifer Bartlett, Jaye Harris, Donald 
Dunbar, John Hall, Susan Rankin, Dan Raphael, Rodney Koeneke, Endi Hartigan/

*Sunday, January 16, 2:00 - 7:00 pm*
YU <http://www.yucontemporary.org/>    800 SE 10th Avenue
/Lisa Radon, Linda Austin, Tim DuRoche/, /Patrick Hartigan, Meredith 
Blankinship, Joseph Mainz,
Jamalieh Haley, David Weinberg, Castle, Paul Maziar, Drew Swenhaugen, 
James Yeary
/
For a compendium of Olson resources, including links to recordings, 
interviews, essays, and other documents, see the Olson pages at SUNY 
Buffalo's Electronic Poetry Center 
<http://epc.buffalo.edu/authors/olson/> and the Poetry Foundation 
<http://www.poetryfoundation.org/bio/charles-olson>.

==================================================*
Upcoming Readings*
2/6 /Cedar Sigo/ and /Maryrose Larkin/
2/12 /Leslie Scalapino memorial reading and celebration/
               (cosponsored with Reed College)
3/13   Canarium Press authors: /Robert Fernandez, Ish Klein,
                Joshua Edwards/ + TBA
3/27 /Barbara Henning/ and /Will Owen
/ ==================================================/
/www.flim.com/spareroom
spareroom@flim.com

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<div class="moz-text-html" lang="x-western"><b>Friday-Sunday, January
14-16, 2011<br>
<br>
A Marathon Reading of <i>The Maximus Poems</i> by Charles Olson
(1910-1970)<br>
</b><br>
Joining the many celebrations of
Charles Olson's centennial that have taken place
over the past year, Spare Room has organized a three-day
marathon reading of Olson's book-length
epic, <i>The Maximus Poems</i>.<br>
<br>
<b>Friday, January 14, 4:00 - 9:00 pm</b><br>
<a href="http://www.switchyardstudios.org/">Switchyard Studios</a>&nbsp;&nbsp;&nbsp;
109 E Salmon Street<br>
<i>Jacqueline Motzer, Jesse Morse, Zachary Schomburg, Christopher Luna,
Dan Raphael, Laura Feldman, Michael Weaver, David Abel<br>
</i><br>
<b>Saturday, January 15, 2:00 - 7:00 pm</b><br>
<a href="http://www.galleryhomeland.org/">galleryHOMELAND</a>&nbsp; &nbsp; 2505
SE 11th Avenue<br>
<i>Alicia
Cohen, Sam Lohmann, Jennifer Bartlett, Jaye Harris, Donald Dunbar, John
Hall, Susan Rankin, Dan Raphael, Rodney Koeneke, Endi Hartigan</i><br>
<br>
<b>Sunday, January 16, 2:00 - 7:00 pm</b><br>
<a href="http://www.yucontemporary.org/">YU</a>&nbsp;&nbsp;&nbsp; 800 SE 10th Avenue<br>
<i>Lisa Radon, Linda Austin, Tim DuRoche</i>, <i>Patrick
Hartigan, Meredith Blankinship, Joseph Mainz, <br>
Jamalieh Haley, David Weinberg, Castle, Paul Maziar, Drew Swenhaugen,
James Yeary<br>
</i><br>
For a compendium of Olson resources, including links to recordings,
interviews, essays, and other documents, see the Olson pages at <a
 href="http://epc.buffalo.edu/authors/olson/">SUNY Buffalo's Electronic
Poetry Center</a> and the <a
 href="http://www.poetryfoundation.org/bio/charles-olson">Poetry
Foundation</a>.<br>
<br>
==================================================<b><br>
Upcoming Readings</b><br>
2/6&nbsp;&nbsp;&nbsp;&nbsp; <i>Cedar Sigo</i> and <i>Maryrose Larkin</i><br>
2/12&nbsp;&nbsp; <i>Leslie Scalapino memorial reading and celebration</i><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; (cosponsored with Reed College)<br>
3/13&nbsp;&nbsp; Canarium Press authors: <i>Robert Fernandez, Ish Klein,<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp;&nbsp; Joshua Edwards</i> + TBA<br>
3/27 &nbsp; <i>Barbara Henning</i> and <i>Will Owen&nbsp; <br>
</i>
==================================================<i><br>
</i><a class="moz-txt-link-abbreviated"
 href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
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Registration is now open for this spring's literary arts courses at 
Multnomah Arts Center:
/
/*Full-Term Courses*
/ /Writing & Reading Short Stories/ --/ Jon Ross
/Write Anything Better/ -- Lisa Radon
/ //    Reading & Writing Poetry: Revision/ -- David Abel
/ //  Memoir Writing: The Literature of Memory I & II/ -- Lyssa Tall Anolik/
/
*Writing Places: Creative Excursions in and around Portland*
/Write Like a Bird/ (April 23) -- Jesse Morse
/Why Write about Animals?/ (May 7) -- David Abel
/In Response: Poems on Art/ (May 28) -- Lisa Radon
/A Day at Swan Island/ (June 4) -- Nate Orton and James Yeary
/ /
See below for full descriptions.

For more information, or to register, call 503-823-2787, or go to 
www.multnomahartscenter.org, where you can download a complete catalogue 
of fall courses.


*Writing and Reading Short Stories*
Jon Ross
Mondays 7:00 pm - 9:00 pm
April 4 --  May 23 [8 classes]
Do you have a story to tell? An imaginary friend who seeks real life on 
the printed page? A truth that can only find expression as fiction? 
Whether you have great ideas for stories but no idea how to start 
telling them, or drafts of stories you've written that don't quite feel 
finished, this workshop is for you. Together, we'll explore how 
language, character, and narrative structure work in each other's 
writing as well as in published works. Each student will present at 
least one short story for workshop. Writers of all stripes and stature 
welcome.

*Write Anything Better*
Lisa Radon
Wednesdays 7:00 pm - 8:30 pm
April 6 -- June 8 [10 classes]
Why is it that some prose crackles with immediacy, drags you into it and 
doesn't let you go until the very last word? What is it that makes 
writing come alive --- and more importantly, how can we learn to write 
like that? In this course, you'll learn to loosen up and let the good 
words roll while at the same time sharpening the focus of your ideas and 
descriptions. We'll explore a toolbox of techniques you can apply to 
your writing, from writing attention-getting openings and vivid details 
to revision strategies that will make you your own best editor.

*Reading and Writing Poetry: Revision*
David Abel
Tuesdays 6:30 pm - 9:00 pm
April 5 -- June 7 [10 classes]
In this workshop, we'll look at how poetry works, as writers and as 
readers. Students will write in response to exercises, and in response 
to what they read; we'll read closely one another's work, and the work 
of other poets both familiar and not. We'll pay particular attention to 
revision, exploring various approaches to this crucial process; students 
will pursue the poems that they write through multiple and distinct 
versions, expanding and focusing their sense of the possibilities of 
their own writing. Anyone interested in writing poetry, and motivated to 
write every week, is welcome.

*Memoir Writing: The Literature of Memory I*
Lyssa Tall Anolik
Thursdays 10:00 am - 12:30 pm
March 31 -- June 9 [11 classes]
Memory is not logical or tidy, but it is infinitely interesting. Learn 
how to take the details that make up your life and turn them into 
memoir, poems, or even fiction. We will engage in the free-writing 
process using prompts to trigger and unlock the stories hidden within 
you. We'll address and put aside the inner critic, so that you may 
engage your creative process in a safe and encouraging environment. No 
writing experience necessary. All levels welcome.

*Memoir Writing: The Literature of Memory II*
Lyssa Tall Anolik
Thursdays 6:30 pm - 9:00 pm
March 31 -- June 9 [11 classes]
This continuation class will build on the writing process and steps 
explored in previous classes. We'll hone and strengthen your writing 
voice and revision skills and focus on the group critique process in a 
safe and encouraging environment. Process discussions and writing 
exercises will help you shape works-in-progress and give you the tools 
to plan and manage both large and small memoir projects. Prerequisite: 
previous writing class or permission from the instructor.


*Writing Places: Creative Excursions in and around Portland
*
This spring, take your pen and notebook out for a stroll, and enliven 
your writing with a breath of fresh air! With local writers and artists 
as your guides, explore a wildlife refuge, an industrial park, the zoo, 
the gallery district --- taking inspiration and provocation from trails, 
views, creatures, and pictures; from everyday scenes and hidden 
histories. Each one-day excursion is a self-contained writing 
experience; register for one, or two --- or for all four!

The excursions are open to all; both beginning and experienced writers 
are welcome. See the individual listings for date, time, meeting place, 
and any special notes.


*Write Like a Bird*
W.G. Sebald compared his writing process to the way "a dog runs through 
a field"'; Thoreau encouraged us to write like a fox. Is it possible to 
move on the page the way a Great Blue Heron soars through the air? On a 
walk through Oaks Bottom, a birdwatcher's paradise, we'll explore how 
our animal friends might help us write. We'll read examples, and explore 
writing exercises that encourage us to inhabit a space outside our own. 
We'll look for critters, bird watch, and simply walk, leaving time for 
discussion and feedback.
/Location:/ Oaks Bottom Wildlife Refuge; meet at Mocha Momma's cafe, 
6116 SE Milwaukie Avenue
/Notes: /Bring a sack lunch, your bird books and binoculars (if you have 
them), and walking shoes, and be prepared for Portland weather!
Saturday, April 23
10:00 am -- 2:00 pm
Jesse Morse

*Why Write about Animals?*
/Public zoos came into existence at the beginning of the period which 
was to see the disappearance of animals from daily life. The zoo to 
which people go to meet animals, to observe them, to see them, is, in 
fact, a monument to the impossibility of such encounters./ --- John 
Berger, "Why Look at Animals?"
Animals have always provided us with food, labor, transportation, 
clothing . . . and something more, as "messengers and promises" 
(Berger). Literature and art, dreams and lore, are filled with animal 
presences, from Aesop's fables to Hollywood, from Coyote tales to Donald 
Duck. We'll visit  the zoo, and through our experiences, selected 
readings, and writing exercises, we'll consider the place of animals in 
our imaginations.
/Location:/ Oregon Zoo; meet at the Cascade Grill (just inside the 
entrance). Regular zoo admission not included in registration fee.
/Notes: /Dress for Portland weather. Lunch is available in the 
restaurant, or bring your own.
Saturday, May 7
11:00 pm -- 3:00 pm
David Abel

*In Response: Poems on Art*
Spend an afternoon visiting galleries in Portland's Pearl District, 
making poems in response to and in conversation with works of 
contemporary art. Poet, artist, and arts writer Lisa Radon will guide 
you beyond straightforward description, to take a more expansive view of 
what a poetic response to a work of art might be --- stoking the fire 
with related readings, writing experiments and prompts, and a tuning in 
to your own five senses.
/Location:/ Pearl District; meet at PCS Gerding Theater at the Armory, 
128 NW Eleventh Ave.
/Notes: /Bring a sack lunch, notebook and pens/pencils, a digital camera 
(optional), and be ready to walk.
Saturday, May 28
12:00 pm -- 4:00 pm
Lisa Radon

*A Day at Swan Island*
What makes Portland Portland? For an unconventional answer, explore Swan 
Island, an industrial site, active port, former island, and threatened 
ecosystem, with visual artist Nate Orton and writer James Yeary. James 
and Nate will demonstrate the methods used in their ongoing My Day zine 
series, which for seven years has examined sites that define or 
undermine Portland's image. Throughout the walk, the class will 
undertake the artful documentation of the surroundings, generating the 
material for a collaborative My Day project.
/Location: /Swan Island; meet at the Skidmore Bluffs
/Notes:/ Workshop will consist of a 3-mile walk with many stops to draw 
and write. Dress for Portland weather, and bring walking shoes, 
art-making materials, and a sack lunch.
Saturday, June 4
11:00 am -- 4:00 pm
Nate Orton and James Yeary

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Registration is now open
for this spring's literary arts courses at
Multnomah Arts Center:<br>
<i><br>
&nbsp;&nbsp;&nbsp; </i><b>Full-Term Courses</b><br>
<i>&nbsp; &nbsp; <i>Writing &amp; Reading Short Stories</i> --</i> Jon Ross<br>
&nbsp;&nbsp;&nbsp; <i>Write Anything Better</i> -- Lisa Radon<br>
<i>
</i><i>&nbsp;&nbsp;&nbsp; Reading &amp; Writing Poetry: Revision</i> -- David Abel<br>
<i>&nbsp;&nbsp;</i><i>&nbsp; Memoir Writing: The Literature of Memory I &amp; II</i>
-- Lyssa Tall
Anolik<i><br>
</i><br>
&nbsp;&nbsp;&nbsp; <b>Writing Places: Creative Excursions in and around Portland</b><br>
&nbsp;&nbsp;&nbsp; <i>Write Like a Bird</i> (April 23) -- Jesse Morse<br>
&nbsp;&nbsp;&nbsp; <i>Why Write about Animals?</i> (May 7) -- David Abel<br>
&nbsp;&nbsp;&nbsp; <i>In Response: Poems on Art</i> (May 28) -- Lisa Radon<br>
&nbsp;&nbsp;&nbsp; <i>A Day at Swan Island</i> (June 4) -- Nate Orton and James Yeary<br>
<i>
&nbsp; </i><br>
See below for full descriptions.<br>
<br>
For more information, or to register, call 503-823-2787, or go to
<a class="moz-txt-link-abbreviated"
 href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a>,
where
you
can download a complete
catalogue of fall courses.<br>
<br>
<br>
<b>Writing and Reading Short Stories</b><br>
Jon Ross<br>
Mondays 7:00 pm - 9:00 pm<br>
April 4 &#8211;&nbsp; May 23 [8 classes]<br>
Do you have a story to tell? An imaginary friend who seeks real life on
the printed page? A truth that can only find expression as fiction?
Whether you have great ideas for stories but no idea how to start
telling them, or drafts of stories you've written that don&#8217;t quite feel
finished, this workshop is for you. Together, we&#8217;ll explore how
language, character, and narrative structure work in each other&#8217;s
writing as well as in published works. Each student will present at
least one short story for workshop. Writers of all stripes and stature
welcome.<br>
<br>
<b>Write Anything Better</b><br>
Lisa Radon<br>
Wednesdays 7:00 pm - 8:30 pm<br>
April 6 &#8211; June 8 [10 classes]<br>
Why is it that some prose crackles with immediacy, drags you into it
and doesn't let you go until the very last word? What is it that makes
writing come alive &#8212; and more importantly, how can we learn to write
like that? In this course, you'll learn to loosen up and let the good
words roll while at the same time sharpening the focus of your ideas
and descriptions. We'll explore a toolbox of techniques you can apply
to your writing, from writing attention-getting openings and vivid
details to revision strategies that will make you your own best editor.<br>
<br>
<b>Reading and Writing Poetry: Revision</b><br>
David Abel<br>
Tuesdays 6:30 pm - 9:00 pm<br>
April 5 &#8211; June 7 [10 classes]<br>
In this workshop, we&#8217;ll look at how poetry works, as writers and as
readers. Students will write in response to exercises, and in response
to what they read; we&#8217;ll read closely one another&#8217;s work, and the work
of other poets both familiar and not. We&#8217;ll pay particular attention to
revision, exploring various approaches to this crucial process;
students will pursue the poems that they write through multiple and
distinct versions, expanding and focusing their sense of the
possibilities of their own writing. Anyone interested in writing
poetry, and motivated to write every week, is welcome. <br>
<br>
<b>Memoir Writing: The Literature of Memory I</b><br>
Lyssa Tall Anolik<br>
Thursdays 10:00 am - 12:30 pm<br>
March 31 &#8211; June 9 [11 classes]<br>
Memory is not logical or tidy, but it is infinitely interesting. Learn
how to take the details that make up your life and turn them into
memoir, poems, or even fiction. We will engage in the free-writing
process using prompts to trigger and unlock the stories hidden within
you. We&#8217;ll address and put aside the inner critic, so that you may
engage your creative process in a safe and encouraging environment. No
writing experience necessary. All levels welcome.<br>
<br>
<b>Memoir Writing: The Literature of Memory II</b><br>
Lyssa Tall Anolik<br>
Thursdays 6:30 pm - 9:00 pm<br>
March 31 &#8211; June 9 [11 classes]<br>
This continuation class will build on the writing process and steps
explored in previous classes. We&#8217;ll hone and strengthen your writing
voice and revision skills and focus on the group critique process in a
safe and encouraging environment. Process discussions and writing
exercises will help you shape works-in-progress and give you the tools
to plan and manage both large and small memoir projects. Prerequisite:
previous writing class or permission from the instructor.<br>
<br>
<br>
<b>Writing Places: Creative Excursions in and around Portland<br>
</b><br>
This spring, take your pen and notebook out for a stroll, and enliven
your writing with a breath of fresh air! With local writers and artists
as your guides, explore a wildlife refuge, an industrial park, the zoo,
the gallery district &#8212; taking inspiration and provocation from trails,
views, creatures, and pictures; from everyday scenes and hidden
histories. Each one-day excursion is a self-contained writing
experience; register for one, or two &#8212; or for all four! <br>
<br>
The excursions are open to all; both beginning and experienced writers
are welcome. See the individual listings for date, time, meeting place,
and any special notes.<br>
<br>
<br>
<b>Write Like a Bird</b><br>
W.G. Sebald compared his writing process to the way &#8220;a dog runs through
a field&#8221;'; Thoreau encouraged us to write like a fox. Is it possible to
move on the page the way a Great Blue Heron soars through the air? On a
walk through Oaks Bottom, a birdwatcher&#8217;s paradise, we&#8217;ll explore how
our animal friends might help us write. We&#8217;ll read examples, and
explore writing exercises that encourage us to inhabit a space outside
our own. We&#8217;ll look for critters, bird watch, and simply walk, leaving
time for discussion and feedback. <br>
<i>Location:</i> Oaks Bottom Wildlife Refuge; meet at Mocha Momma&#8217;s
cafe, 6116 SE Milwaukie Avenue<br>
<i>Notes: </i>Bring a sack lunch, your bird books and binoculars (if
you have them), and walking shoes, and be prepared for Portland weather!<br>
Saturday, April 23<br>
10:00 am &#8211; 2:00 pm<br>
Jesse Morse<br>
<br>
<b>Why Write about Animals?</b><br>
<i>Public zoos came into existence at the beginning of the period which
was to see the disappearance of animals from daily life. The zoo to
which people go to meet animals, to observe them, to see them, is, in
fact, a monument to the impossibility of such encounters.</i> &#8212; John
Berger, &#8220;Why Look at Animals?&#8221;<br>
Animals have always provided us with food, labor, transportation,
clothing . . . and something more, as &#8220;messengers and promises&#8221;
(Berger). Literature and art, dreams and lore, are filled with animal
presences, from Aesop&#8217;s fables to Hollywood, from Coyote tales to
Donald Duck. We&#8217;ll visit&nbsp; the zoo, and through our experiences,
selected readings, and writing exercises, we&#8217;ll consider the place of
animals in our imaginations.<br>
<i>Location:</i> Oregon Zoo; meet at the Cascade Grill (just inside the
entrance). Regular zoo admission not included in registration fee.<br>
<i>Notes: </i>Dress for Portland weather. Lunch is available in the
restaurant, or bring your own.<br>
Saturday, May 7<br>
11:00 pm &#8211; 3:00 pm<br>
David Abel<br>
<br>
<b>In Response: Poems on Art</b><br>
Spend an afternoon visiting galleries in Portland's Pearl District,
making poems in response to and in conversation with works of
contemporary art. Poet, artist, and arts writer Lisa Radon will guide
you beyond straightforward description, to take a more expansive view
of what a poetic response to a work of art might be &#8212; stoking the fire
with related readings, writing experiments and prompts, and a tuning in
to your own five senses. <br>
<i>Location:</i> Pearl District; meet at PCS Gerding Theater at the
Armory, 128 NW Eleventh Ave.<br>
<i>Notes: </i>Bring a sack lunch, notebook and pens/pencils, a digital
camera (optional), and be ready to walk.<br>
Saturday, May 28<br>
12:00 pm &#8211; 4:00 pm<br>
Lisa Radon<br>
<br>
<b>A Day at Swan Island</b><br>
What makes Portland Portland? For an unconventional answer, explore
Swan Island, an industrial site, active port, former island, and
threatened ecosystem, with visual artist Nate Orton and writer James
Yeary. James and Nate will demonstrate the methods used in their
ongoing My Day zine series, which for seven years has examined sites
that define or undermine Portland&#8217;s image. Throughout the walk, the
class will undertake the artful documentation of the surroundings,
generating the material for a collaborative My Day project.<br>
<i>Location: </i>Swan Island; meet at the Skidmore Bluffs<br>
<i>Notes:</i> Workshop will consist of a 3-mile walk with many stops to
draw and write. Dress for Portland weather, and bring walking shoes,
art-making materials, and a sack lunch.<br>
Saturday, June 4<br>
11:00 am &#8211; 4:00 pm<br>
Nate Orton and James Yeary<br>
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from Paul Maziar:

James Yeary
Lindsay Hill
+ Music by Justin Smith

Saturday, March 5th
6:00 p.m.

Switchyard Studios
109 SE Salmon Street.
http://theswitchpdx.blogspot.com

Featured artwork (TBA)
BYO liquid refreshments
(we also usually have a keg!)

James Yeary is a poet and visual/performance artist living in
Portland, Oregon. He is a member of the Spare Room collective for whom
he recently organized The Maximus Poems Marathon, plus a festival of
poetry for multiple voices. He is publisher of the chapbook series c_L
books and is co-author (with Nate Orton) of the zine series my day.
His work has appeared in ditch, Peaches & Bats, and SHIFTER.

Lindsay Hill was born in San Francisco and is a graduate of Bard
College. His most recently published books are: The Empty Quarter and
Contango (both from Singing Horse Press, San Diego). Recent work has
appeared in Peaches & Bats, New American Writing, and Peep/Show poetry
online: peepshowpoetry.blogspot.com/. Lindsay lives in Portland with
his wife, the painter Nita Hill.

Justin Smith is an experimental composer, based in Portland OR. He
makes sounds so that the way you hear sounds in the future might
change. He sees composition as a process of making things occur that
without him would not have occurred. Frequently, Justin asks himself
the question: "What is experimental today?"

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<div class="moz-text-plain" wrap="true" style="font-size: 16px;"
 lang="x-western">from Paul Maziar:<br>
<br>
James Yeary<br>
Lindsay Hill<br>
+ Music by Justin Smith<br>
<br>
Saturday, March 5th<br>
6:00 p.m.<br>
<br>
Switchyard Studios<br>
109 SE Salmon Street.<br>
<a class="moz-txt-link-freetext" href="http://theswitchpdx.blogspot.com">http://theswitchpdx.blogspot.com</a><br>
<br>
Featured artwork (TBA)<br>
BYO liquid refreshments<br>
(we also usually have a keg!)<br>
<br>
James Yeary is a poet and visual/performance artist living in<br>
Portland, Oregon. He is a member of the Spare Room collective for whom<br>
he recently organized The Maximus Poems Marathon, plus a festival of<br>
poetry for multiple voices. He is publisher of the chapbook series c_L<br>
books and is co-author (with Nate Orton) of the zine series my day.<br>
His work has appeared in ditch, Peaches &amp; Bats, and SHIFTER.<br>
<br>
Lindsay Hill was born in San Francisco and is a graduate of Bard<br>
College. His most recently published books are: The Empty Quarter and<br>
Contango (both from Singing Horse Press, San Diego). Recent work has<br>
appeared in Peaches &amp; Bats, New American Writing, and Peep/Show
poetry<br>
online: peepshowpoetry.blogspot.com/. Lindsay lives in Portland with<br>
his wife, the painter Nita Hill.<br>
<br>
Justin Smith is an experimental composer, based in Portland OR. He<br>
makes sounds so that the way you hear sounds in the future might<br>
change. He sees composition as a process of making things occur that<br>
without him would not have occurred. Frequently, Justin asks himself<br>
the question: "What is experimental today?"<br>
</div>
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Subject: [Spare Room Press Release] FWD: 3/7,
	raga performance/benefit for Living Earth
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North Indian classical vocal recital

Michael Stirling, accompanied by
Aran Adams, tabla, and Derek Ecklund & Dr. Kelly Jenkins, tamburas

Monday, March 7, 7:30 pm

The Little Church
5138 NE 23rd

$5.00-20.00 suggested donation; no one turned away

A benefit for Living Earth's Brown Bag Project (which provides food for 
the homeless) and Hats & Scarves program (which provides knitted hats 
and scarves for families and children).

For more information:
http://livingearthgatherings.org/monday-masala-raga/

(We sincerely regret that The Little Church is not a wheelchair 
accessible venue.)


As spring approaches, Living Earth has the delight and honor of 
presenting an evening performance of raga by Michael Stirling.

We are thrilled to share this opportunity to experience this exceptional 
music in an intimate context. */Be sure to bring cushions and blankets 
if you choose to sit on the floor!/*

A highly accomplished musician in multiple traditions,  Michael Stirling 
is a direct disciple of Indian raga master Pandit Pran Nath and student 
of noted American neo-classical composer Terry Riley. This performance 
will feature classical Northern Indian vocal music, a form uniquely 
expressing the profound relationship between body, breath,  tonality, 
and rhythm, and the deep cycles of days and seasons.
Michael has performed with his guru and Mr. Riley as well as many other 
Indian and Western performers in India and the United States. He is 
offering this concert as a benefit in support of Living Earth's Brown 
Bag Project and Hats & Scarves program.  Michael will be joined in this 
performance by Aran Adams on tabla, and Derek Ecklund and Dr. Kelly 
Jennings on tambura.

Michael Stirling teaches raga at the Yoga Shala of Portland. He serves 
on the board of Living Yoga, and offers raga performance and instruction 
to incarcerated men at the Oregon State Correctional Institution.



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<div class="moz-text-html" lang="x-western">
<div>North Indian classical vocal recital<br>
<br>
Michael Stirling, accompanied by <br>
Aran Adams, tabla, and Derek Ecklund &amp; Dr. Kelly Jenkins, tamburas<br>
<br>
Monday, March 7, 7:30 pm<br>
<br>
The Little Church<br>
5138 NE 23rd<br>
<br>
$5.00-20.00 suggested donation; no one turned away<br>
<br>
A benefit for Living Earth's Brown Bag Project (which provides food for
the homeless) and Hats &amp; Scarves program (which provides knitted
hats and scarves for families and children).<br>
<br>
For more information:</div>
<div><a href="http://livingearthgatherings.org/monday-masala-raga/">http://livingearthgatherings.org/monday-masala-raga/</a>&nbsp;</div>
<div>&nbsp;<br>
(We sincerely regret that The Little Church is not a wheelchair
accessible venue.)<br>
</div>
<br>
<br>
As spring approaches, Living Earth has the delight and honor of
presenting an evening performance of raga by Michael Stirling.<br>
<br>
We are thrilled to share this opportunity to experience this
exceptional music in an intimate context. <b><i>Be sure to bring
cushions and
blankets if you choose to sit on the floor!</i></b><br>
<br>
A highly accomplished musician in multiple traditions,&nbsp; Michael
Stirling is a direct disciple of Indian raga master Pandit Pran Nath
and student of noted American neo-classical composer Terry Riley. This
performance will feature classical Northern Indian vocal music, a form
uniquely expressing the profound relationship between body, breath,&nbsp;
tonality, and rhythm, and the deep cycles of days and seasons.<br>
Michael has performed with his guru and Mr. Riley as well as many other
Indian and Western performers in India and the United States. He is
offering this concert as a benefit in support of Living Earth&#8217;s Brown
Bag Project and Hats &amp; Scarves program.&nbsp; Michael will be joined in
this performance by Aran Adams on tabla, and Derek Ecklund and Dr.
Kelly Jennings on tambura.<br>
<br>
Michael Stirling teaches raga at the Yoga Shala of Portland. He serves
on the board of Living Yoga, and offers raga performance and
instruction to incarcerated men at the Oregon State Correctional
Institution.<br>
<br>
<br>
</div>
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	collaborations
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*Call to Artists: *

"Cross Pollination: Collaborations in Mixed Media"

Multnomah Arts Center invites experienced and emerging artists living in 
Oregon or Washington (in the vicinity of Portland) to submit 
collaborative artwork for a Center Gallery juried group show inspired by 
the theme, "Cross Pollination: Collaborations in Mixed Media," to be 
shown August 5 -- 31, 2011.  Please submit artists' statements, resumes, 
and 3 jpgs of existing work or 3 jpgs of artwork by participating 
artists with a collaborative proposal. (Include dimensions, materials 
used, and any other helpful descriptive information.)

*Submission deadline:  May 1, 2011*

Email:
jaye.campbell@portlandoregon.gov

Mail (with SASE):
Multnomah Arts Center
7688 SW Capitol Highway
Portland, OR  97219

For more information about MAC and the Center Gallery, please go to 
www.multnomahartscenter.org or call 503-823-2787.




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<b>Call to Artists: </b><br>
<br>
&#8220;Cross Pollination: Collaborations in Mixed Media&#8221; <br>
<br>
Multnomah Arts Center invites experienced and emerging artists living
in Oregon or Washington (in the vicinity of Portland) to submit
collaborative artwork for a Center Gallery juried group show inspired
by the theme, &#8220;Cross Pollination: Collaborations in Mixed Media,&#8221; to be
shown August 5 &#8211; 31, 2011.&nbsp; Please submit artists&#8217; statements, resumes,
and 3 jpgs of existing work or 3 jpgs of artwork by participating
artists with a collaborative proposal. (Include dimensions, materials
used, and any other helpful descriptive information.)<br>
<br>
<b>Submission deadline:&nbsp; May 1, 2011</b><br>
<br>
Email: <br>
<a class="moz-txt-link-abbreviated" href="mailto:jaye.campbell@portlandoregon.gov">jaye.campbell@portlandoregon.gov</a> <br>
<br>
Mail (with SASE): <br>
Multnomah Arts Center<br>
7688 SW Capitol Highway<br>
Portland, OR&nbsp; 97219<br>
<br>
For more information about MAC and the Center Gallery, please go to
<a class="moz-txt-link-abbreviated" href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a> or call 503-823-2787.<br>
<br>
<br>
<br>
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*Youth Nature Writing Contest---Trees in the Forest *

Go for a hike in the woods! The third annual Youth Nature Writing 
Contest at Lewis and Clark National Historical Park is open for 
submissions from high school students throughout Washington and Oregon.

To enter the contest, write a 500-word nonfiction story about trees or 
forests. It could be a grand adventure back packing trip or a simple 
moment of reflection, as  long as it's true and related to trees. Cash 
prizes awarded for the best three essays, and fourth and fifth place 
finishers will receive special water bottles for hiking. The top ten 
will be awarded certificates. Start composing your essay now! Entries 
are due by March 31, 2011.

The literary judge is Robin Cody. Cody is the author of numerous books 
including /Ricochet River /.  In 2005, The Oregon Cultural Heritage 
Commission recognized /Ricochet River /as one of the 100 essential 
"Oregon books." /Voyage of a Summer Sun /is the non-fiction account of 
Cody's 82-day solo canoe trip down the Columbia River, from its source 
in Canada to its mouth at Astoria.  Cody's most recent book, /Another 
Way the River Has /, is a collection of short true stories.

To find out the rules for the contest, details, and how to enter, go to 
www.nps.gov/lewi and click onto "Youth Nature Writing Contest" or Google 
"Youth Nature Writing Contest." You can also call (503) 861-2471, ext. 220.


Will George, Park Ranger and Environmental Educator
Lewis and Clark NHP
92343 Fort Clatsop Road
Astoria, OR 97103
503-861-2471 ext. 220

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Writing Contest&#8212;Trees in the Forest</small> </font></span></b><br>
<div>
<p style="margin: 0in 0in 0pt;" class="MsoNormal"><span
 style="font-family: 'Times New Roman','serif';"></span>&nbsp; </p>
<p style="margin: 0in 0in 0pt;" class="MsoNormal"><span
 style="font-family: 'Times New Roman','serif';"><font size="3">Go
for a hike in the woods! The third annual Youth Nature Writing Contest
at Lewis and Clark National Historical Park is open for submissions
from high school students throughout Washington and Oregon. </font></span></p>
<p style="margin: 0in 0in 0pt;" class="MsoNormal"><span
 style="font-family: 'Times New Roman','serif';"><font size="3">&nbsp; </font></span></p>
<p style="margin: 0in 0in 0pt;" class="MsoNormal"><font size="3"><span
 style="font-family: 'Times New Roman','serif';">To
enter the contest, write a 500-word nonfiction story about trees or
forests. It could&nbsp;be a grand adventure back packing trip or a simple
moment of reflection, as </span><span
 style="font-family: 'Times New Roman','serif';">&nbsp;long as it&#8217;s true and
related to trees. <span style="">Cash
prizes awarded for the best three essays, and fourth and fifth place
finishers will receive special water bottles for hiking. The top ten
will be awarded certificates. Start composing your essay now! Entries
are due by March 31, 2011. </span></span></font></p>
<p><font face="Default Serif,Times New Roman,Times,serif"><font size="3">The
literary judge is Robin Cody. <span style="color: black;">Cody is the
author of numerous books including <em>Ricochet River </em>.&nbsp; In
2005, The Oregon Cultural Heritage Commission recognized <em>Ricochet
River </em>as one of the 100 essential &#8220;Oregon books.&#8221; <em>Voyage of
a Summer Sun </em>is
the non-fiction account of Cody's 82-day solo canoe trip down the
Columbia River, from its source in Canada to its mouth at Astoria.&nbsp;
Cody&#8217;s most recent book, <em>Another Way the River Has </em>, is a
collection of short true stories. </span></font></font></p>
<p style="margin: 0in 0in 0pt;" class="MsoNormal"><span
 style="font-family: 'Times New Roman','serif';"><font size="3">To
find out the rules for the contest, details, and how to enter, go to
<a class="moz-txt-link-abbreviated" href="http://www.nps.gov/lewi">www.nps.gov/lewi</a> and click onto &#8220;Youth Nature Writing Contest&#8221; or
Google &#8220;Youth Nature Writing Contest.&#8221; You can also call (503)
861-2471, ext. 220. </font></span></p>
<br>
<div><big><font face="Times New Roman, Times, serif">Will&nbsp;George,&nbsp;Park&nbsp;Ranger&nbsp;and&nbsp;Environmental&nbsp;Educator
<br>
Lewis&nbsp;and&nbsp;Clark&nbsp;NHP <br>
92343&nbsp;Fort&nbsp;Clatsop&nbsp;Road <br>
Astoria,&nbsp;OR&nbsp;97103 <br>
503-861-2471&nbsp;ext.&nbsp;220</font></big></div>
</div>
</div>
</font></div>
</body>
</html>

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Content-Type: text/plain; charset=ISO-8859-1

Spare Room presents

*Canarium Books:*

*Robert Fernandez, Ish Klein & Joshua Edwards*

*with Dan Kaplan
*

*    *


Sunday, March 13

7:30 pm
*
*The Waypost <http://www.thewaypost.com/>
3120 N. Williams Ave.
503-367-3182

$5 suggested donation


 *Robert Fernandez* was born in 1980 in Hartford, Connecticut and raised in
South Florida. He is the recipient of fellowships from the Iowa Writers's
Workshop and the University of Iowa Department of English. *We Are
Pharaoh*is his first book.

*Ish Klein* grew up in Long Beach, NY. Her book *Moving Day* will be out in
2011 from Canarium books. A dvd of her videos will also be released from
Poor Claudia of Portland, Oregon. She's lived all over the world and now
lives in Amherst, MA with the writer Greg Purcell.

*Joshua Edwards* is the director and co- editor of Canarium Books. His poems
and translations have appeared in Chicago Review, Colorado Review, CROWD,
Slate, Skanky Possum, and elsewhere, and his translation of Mexican poet
Maria Baranda's book- length poem, FICTICIA, was published by Shearsman
Books in September 2010. He's received grants and fellowships from the
Fulbright-Garcia Robles Program, Vermont Studio Center, Zoland Poetry,
University of Michigan, and Stanford University, where he's currently a
Stegner Fellow.

*Dan Kaplan* is the author of *Bill's Formal Complaint* (The National Poetry
Review Press, 2008). Recent work appears or is forthcoming in American
Letters & Commentary, Bateau, Copper Nickel, Denver Quarterly, The Hat, and
elsewhere. His website can be found here <http://www.dan-kaplan.com/>.

www.flim.com/spareroom
spareroom@flim.com

==================================================*
Upcoming Readings
*

March 27: Barbara Henning, Will Owen

April 17: Geoffrey G. O'Brien, Michael Weaver

May 22: Matthew Cooperman, Aby Kaupang, Dan Raphael

==================================================

*VAPORS*

Summer hangs on until midwinter, when
reproach echoes a reminder that no softness
can exist without some sort of trickery.
Bruised and slightly faster than average,
the heart stands out in the last downpour
and won't be mentioned again until it stops.
Anguish and poisonous phantoms explode
in art, to restore it with their vapors,
their lights that correct color from above.
If the soul is a souvenir in human shape,
the sun is half its shadow and discloses
who is what when in public, but when alone
there are other, brighter stars, all like
contemporary prisons in every way
but the one that is memory. Fangs grow
from those stars. Day after day, the sea spits
up at the sky, always from new mouths,
and sometimes a cloud obscures the moon
just as two people step out onto a balcony.

*Joshua Edwards*


 *BONFIRE, JETTY *

I get on, nothing to contribute,
and stay happy according to the fire,
nothing to contribute, maze
of loose brick--in inclines
degenerate--bound (higher)--
raking the form from those leaves,
unbuttoning the shirt for those leaves . . .
For the wall, the monument,
Bolivar shattered into rags
& sunlight; unity, "it is our
distinct pleasure . . ."
As the hands topple--affection--
I was, I became, I preferred the sweep
of the water to that fall, I preferred
the jets of pale marble--& the women
they've said to me, & the men
they've said to me, between
the sun's wavering, the water, they say
and remain faceless and beyond my reach.


*Robert Fernandez*



 +



 I cannot accept flowers

but will open this morning.

Poised, everything is looking up.

Now I see those impressions
and where they come from.

I worry about reaching other bodies and feeling
like that moment's back.
So many formalities.

Many scientists believe humans
resent an interesting transition in time

and the explosion might leave a star.

O those above,
please don't cloud this peak.

*Dan Kaplan*



 *Eggheads and Rejects in and Around Science Fiction Society*

And of course when I say 'reject' it is meant
as self-reject. There is only the self, empty,
no inherent meaning but for flow.

I have been in the hall where the screaming people
have not succumbed to television. So I tell you:
Grateful I am that you can be not so noisy

and with memory. I have undergone the reject
stamp, somewhere in the back of my head
my soul said yes to the scientists, yes to the scab.

I think it was a capture in a game
like isolated pawn.
No I do not like isolated pawn.

Rejects please meet up with me on disc 4.
Rejects please realize that we have to go slow
on four talk about the beautiful things of our time.

I will start: I loved the thought of Christmas in other places
lights and color- cold very cold, only horses.
It is remote. I give them the beautiful cigar boxed scene:

animals in outfits dance on mirrored glass
handiwork A++, the sky, diamonds in the glint
geometry, little bit of moss, going slow etc.

I will make them proud; maybe even frighten them
with my big magnifying lens glass head.
They will give me a coat to wear for the rest of my life.

In the real are the joke shows
-What are you doing?
Nothing.
-That's right nothing! Now all of you get to bed!

I heard tell about the horrible pink foam:
save us from the pink foam; the foam as fixative.
I've heard how the upper level is dreck

and therefore we are below dreck, we feeble people.
I tell myself I must not believe this honky speech.
Then dream, the shaved head with scab in the sun

then someone took a picture
how horrified was I?

over 50% takes the whole thing, it's proven.

The flea of a machine, conceive.

The circus I run to
an organized show of things practiced.

I will blow up them come back again.
Every little leaf of my skin
right back intact, my flea trick or trap.

There are many now who will shrewdly
be waiting with their cameras
I'm not happy to say

though I've fixed its' hold on me.
I've fixed it so they will not see-
these guards apart who love only the dogs for they have trained them.

Eggheads who will somehow help- they know they can do anything!
Eggheads who cannot conceive.
Eggheads who are from somewhere cleaner.

Why do they not get one of our pawns turned queen in here?
You from the prosperous provinces
do not know the thickness of our skin

nor its astounding capacity for callous
nor its borted capillariel cones
nor its consequence-bisect hearts

You who grew up around a soul
whereas we are coral
underwater, we build ground up

from almost nothing
which is what we love.
A ride to the movies, the ride home from the movies

*Ish Klein*

--00151747347c0dc5b3049deaf833
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: quoted-printable

<br><div class=3D"gmail_quote"><br><div class=3D"gmail_quote"><p style=3D"m=
argin-bottom: 0in;"><font color=3D"#2a2a2a"><font size=3D"2">Spare
Room presents<br><br><b>Canarium Books:</b></font></font></p><p style=3D"ma=
rgin-bottom: 0in;"><font color=3D"#2a2a2a"><font size=3D"2"><b>Robert Ferna=
ndez, Ish Klein &amp; Joshua Edwards</b></font></font></p><p style=3D"margi=
n-bottom: 0in;">


<font color=3D"#2a2a2a"><font size=3D"2"><b>with Dan Kaplan<br></b></font><=
/font></p><p style=3D"margin-bottom: 0in;"><font color=3D"#2a2a2a"><font si=
ze=3D"2"><b> =A0=A0 </b></font></font>
</p>
<p style=3D"margin-bottom: 0in;"><font color=3D"#2a2a2a"><font size=3D"2"><=
br>Sunday,
March 13</font></font></p>
<p style=3D"margin-bottom: 0in;"><font color=3D"#2a2a2a"><font size=3D"2">7=
:30
pm<br></font></font><font color=3D"#2a2a2a"><font size=3D"2"><i><br></i></f=
ont></font><a href=3D"http://www.thewaypost.com/" target=3D"_blank"><font c=
olor=3D"#0068cf"><font size=3D"2">The
Waypost</font></font></a><font color=3D"#2a2a2a"><font size=3D"2"><br>3120
N. Williams Ave.<br>503-367-3182<br><br>$5 suggested donation</font></font>=
</p>
<p style=3D"margin-bottom: 0in;"><br>
</p>
<p style=3D"margin-bottom: 0.17in;"><b>Robert Fernandez</b> was born in
1980 in Hartford, Connecticut and raised in South Florida. He is the
recipient of fellowships from the Iowa Writers&#39;s Workshop and the
University of Iowa Department of English. <i>We Are Pharaoh</i> is
his first book.<br><br><b>Ish Klein</b> grew up in Long Beach, NY.
Her book <i>Moving Day</i> will be out in 2011 from Canarium books. A
dvd of her videos will also be released from Poor Claudia of
Portland, Oregon. She&#39;s lived all over the world and now lives in
Amherst, MA with the writer Greg Purcell.<br><br><b>Joshua Edwards</b>
is the director and co- editor of Canarium Books. His poems and
translations have appeared in Chicago Review, Colorado Review, CROWD,
Slate, Skanky Possum, and elsewhere, and his translation of Mexican
poet Maria Baranda&#39;s book- length poem, FICTICIA, was published by
Shearsman Books in September 2010. He&#39;s received grants and
fellowships from the Fulbright-Garcia Robles Program, Vermont Studio
Center, Zoland Poetry, University of Michigan, and Stanford
University, where he&#39;s currently a Stegner Fellow.<br><br><b>Dan
Kaplan</b> is the author of <i>Bill&#39;s Formal Complaint</i> (The
National Poetry Review Press, 2008). Recent work appears or is
forthcoming in American Letters &amp; Commentary, Bateau, Copper
Nickel, Denver Quarterly, The Hat, and elsewhere. His website can be
found
<a href=3D"http://www.dan-kaplan.com/" target=3D"_blank">here</a>.<br><br><=
a href=3D"http://www.flim.com/spareroom" target=3D"_blank"><font color=3D"#=
0068cf"><font size=3D"2">www.flim.com/spareroom</font></font></a><font colo=
r=3D"#2a2a2a"><font size=3D"2"><br>



</font></font><a href=3D"mailto:spareroom@flim.com" target=3D"_blank"><font=
 color=3D"#0068cf"><font size=3D"2">spareroom@flim.com</font></font></a><fo=
nt color=3D"#2a2a2a"><font size=3D"2"><br><br>=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D</font></font><font color=
=3D"#2a2a2a"><font size=3D"2"><b><br>



Upcoming
Readings<br></b></font></font></p><p style=3D"margin-bottom: 0.17in;"><font=
 color=3D"#2a2a2a"><font size=3D"2">March 27: Barbara Henning, Will Owen</f=
ont></font><font color=3D"#2a2a2a"><font size=3D"2"><br></font></font></p><=
p style=3D"margin-bottom: 0.17in;">

<font color=3D"#2a2a2a"><font size=3D"2">April
17: Geoffrey G. O&#39;Brien, Michael Weaver</font></font><br></p><p style=
=3D"margin-bottom: 0.17in;"><font color=3D"#2a2a2a"><font size=3D"2">May 22=
: Matthew Cooperman,
Aby Kaupang, Dan
Raphael<br><br>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D</font></font></p>
<p style=3D"margin-bottom: 0.2in;"><b>VAPORS</b><br><br>Summer hangs on
until midwinter, when<br>reproach echoes a reminder that no
softness<br>can exist without some sort of trickery.<br>Bruised and
slightly faster than average,<br>the heart stands out in the last
downpour<br>and won&#39;t be mentioned again until it stops.<br>Anguish
and poisonous phantoms explode<br>in art, to restore it with their
vapors,<br>their lights that correct color from above.<br>If the soul
is a souvenir in human shape,<br>the sun is half its shadow and
discloses<br>who is what when in public, but when alone<br>there are
other, brighter stars, all like<br>contemporary prisons in every
way<br>but the one that is memory. Fangs grow<br>from those stars.
Day after day, the sea spits<br>up at the sky, always from new
mouths,<br>and sometimes a cloud obscures the moon<br>just as two
people step out onto a balcony.<br><br><b>Joshua Edwards</b><br><br><br>
</p>
<p style=3D"margin-bottom: 0in;"><b>BONFIRE, JETTY=A0</b><br><br>I
get on, nothing to contribute, <br>and stay happy according to the
fire, <br>nothing to contribute, maze <br>of loose brick--in inclines
<br>degenerate--bound (higher)-- <br>raking the form from those
leaves, <br>unbuttoning the shirt for those leaves . . .<br>For the
wall, the monument, <br>Bolivar shattered into rags <br>&amp;
sunlight; unity, &quot;it is our <br>distinct pleasure . . .&quot;
<br>As the hands topple--affection-- <br>I was, I became, I preferred
the sweep <br>of the water to that fall, I preferred <br>the jets of
pale marble--&amp; the women <br>they&#39;ve said to me, &amp; the men
<br>they&#39;ve said to me, between <br>the sun&#39;s wavering, the water,
they say <br>and remain faceless and beyond my reach.</p>
<p><br><b>Robert Fernandez</b></p>
<p style=3D"margin-bottom: 0in;"><br>
</p>
<p style=3D"margin-bottom: 0in;"><br>
</p>
<p style=3D"margin-bottom: 0in;">+</p>
<p><br><br>
</p>
<p style=3D"margin-bottom: 0in;">I cannot accept flowers=20
</p>
<p>but will open this morning.<br><br>Poised, everything is looking
up.<br><br>Now I see those impressions<br>and where they come
from.<br><br>I worry about reaching other bodies and feeling<br>like
that moment&#39;s back.<br>So many formalities.<br><br>Many scientists
believe humans<br>resent an interesting transition in time<br><br>and
the explosion might leave a star.<br><br>O those above,<br>please
don&#39;t cloud this peak.<br><br><b>Dan Kaplan</b></p>
<p style=3D"margin-bottom: 0in;"><br>
</p>
<p style=3D"margin-bottom: 0in;"><br>
</p>
<p style=3D"margin-bottom: 0in;"><b>Eggheads and Rejects in and Around
Science Fiction Society</b><br><br>And of course when I say &#39;reject&#39=
;
it is meant<br>as self-reject. There is only the self, empty,<br>no
inherent meaning but for flow.<br><br>I have been in the hall where
the screaming people<br>have not succumbed to television. So I tell
you:<br>Grateful I am that you can be not so noisy<br><br>and with
memory. I have undergone the reject<br>stamp, somewhere in the back
of my head<br>my soul said yes to the scientists, yes to the scab.<br><br>I
think it was a capture in a game<br>like isolated pawn.<br>No I do
not like isolated pawn.<br><br>Rejects please meet up with me on disc
4.<br>Rejects please realize that we have to go slow<br>on four talk
about the beautiful things of our time.<br><br>I will start: I loved
the thought of Christmas in other places<br>lights and color- cold
very cold, only horses.<br>It is remote. I give them the beautiful
cigar boxed scene:<br><br>animals in outfits dance on mirrored
glass<br>handiwork A++, the sky, diamonds in the glint<br>geometry,
little bit of moss, going slow etc.<br><br>I will make them proud;
maybe even frighten them<br>with my big magnifying lens glass
head.<br>They will give me a coat to wear for the rest of my
life.<br><br>In the real are the joke shows<br>-What are you
doing?<br>Nothing.<br>-That&#39;s right nothing! Now all of you get to
bed!<br><br>I heard tell about the horrible pink foam:<br>save us
from the pink foam; the foam as fixative.<br>I&#39;ve heard how the upper
level is dreck<br><br>and therefore we are below dreck, we feeble
people.<br>I tell myself I must not believe this honky speech.<br>Then
dream, the shaved head with scab in the sun<br><br>then someone took
a picture<br>how horrified was I?</p>
<p style=3D"margin-bottom: 0in;">over 50% takes the whole thing, it&#39;s
proven.<br><br>The flea of a machine, conceive.<br><br>The circus I
run to<br>an organized show of things practiced.<br><br>I will blow
up them come back again.<br>Every little leaf of my skin<br>right
back intact, my flea trick or trap.<br><br>There are many now who
will shrewdly<br>be waiting with their cameras<br>I&#39;m not happy to
say<br><br>though I&#39;ve fixed its&#39; hold on me.<br>I&#39;ve fixed it =
so
they will not see-<br>these guards apart who love only the dogs for
they have trained them.<br><br>Eggheads who will somehow help- they
know they can do anything!<br>Eggheads who cannot conceive.<br>Eggheads
who are from somewhere cleaner.<br><br>Why do they not get one of our
pawns turned queen in here?<br>You from the prosperous provinces<br>do
not know the thickness of our skin<br><br>nor its astounding capacity
for callous<br>nor its borted capillariel cones<br>nor its
consequence-bisect hearts<br><br>You who grew up around a
soul<br>whereas we are coral<br>underwater, we build ground up<br><br>from
almost nothing<br>which is what we love.<br>A ride to the movies, the
ride home from the movies<br><br><b>Ish Klein</b></p>
<p style=3D"margin-bottom: 0in;"><br>
</p>
</div><br>
</div><br>

--00151747347c0dc5b3049deaf833--


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Spare Room presents

*Barbara Henning
Will Owen*

Sunday, March 27
7:30 pm

The Waypost
<http://thewaypost.com/>3120 N. Williams Ave.
503-367-3182

$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com

==================================================
* Upcoming Readings*

4/17   Geoffrey G. O'Brien & Michael Weaver
5/22   Matthew Cooperman, Aby Kaupang, & Dan Raphael
==================================================

*Barbara Henning* is the author of three novels, seven books of poetry 
and a series of  photo-poem pamphlets. Her most recent books are a 
collection of poetry and prose, /Cities & Memory /(Chax Press); a novel, 
/Thirty Miles from Rosebud/ (BlazeVox); and a collection of 
object-sonnets, /My Autobiography/ (United Artists). /Looking Up 
Harryette Mullen/ is forthcoming from Belladonna Books.  Barbara is a 
member of the Belladonna collaborative board and an advisory board 
member for POG and Chax Press. Born in Detroit, she has lived in New 
York City since 1983, and is presently teaching for Naropa University, 
as well as Long Island University in Brooklyn where she is Professor 
Emerita.

*Will Owen* has been putting much of his energy into the Seattle 
Autonomous University, a general research group made up of other 
research groups which presumes equality and avoids the internet. Thus 
far groupuscules have concresced on the topics of Soccer & Political 
Economy (PE class); Affect, Aesthetics & Ethics in /2666/; and Feminist 
Science Fiction; and briefly held regional polity seminars on public 
transit buses. An Evergreen graduate, he has written on spite houses and 
automated erotica translations, published work in /Peaches and Bats/ and 
/Off Koot/, and worked with Subtext. At the moment he is trying to see 
the tenants of classical economics in poetry.


*BAYPORT, LONG ISLAND*
  -- from /Twelve Green Rooms/

A shock of black hair, little cleft chin, round face, little feet like a 
fish. Pelican. Pelican. Pelican. Two weeks later he is more than 
one-third larger. One day he'll be over six feet. With a ten foot wing 
span and a layer of webbed fibers. Throat pouches full of  water   
fish   oceanic     ripple   spill    sentient   brim over    full over   
The terns are fragile little birds, one dive into the oily water and 
they don't resurface. I take the baby into the kitchen, and then in the 
red glow of the night light, we sway that baby sway. Pelicaniformas, 
ancient symbol of      spill out   spill over    Later I come down the 
stairs for a glass of water. In the dark, the tv is on with no sound and 
Greg is stretched out in the chair, his big line-backer body and the 
infant curled up in his armpit, both sound asleep. Half a mile south, 
the Atlantic tide laps against the shore.

*Barbara Henning*


Eye bag teas
shitbag
[include but don't attach]

All that is
is pyramids,
scheme milk,
descent:

"we care"
whereas I modular oil,
making it here
a gas a glass an engine.

    -- /April 16th 8:49PM/

*Will Owen*


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<meta http-equiv="content-type" content="text/html; charset=ISO-8859-1">
</head>
<body bgcolor="#ffffff" text="#000000">
<p>Spare Room presents<br>
</p>
<p><b>Barbara Henning<br>
Will Owen</b></p>
<p>Sunday, March 27<br>
7:30 pm<br>
<br>
<a href="http://thewaypost.com/">The Waypost<br>
</a>3120 N. Williams Ave.<br>
503-367-3182</p>
<p>$5.00 suggested donation<br>
</p>
<p><a class="moz-txt-link-abbreviated"
 href="http://www.flim.com/spareroom">www.flim.com/spareroom</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:spareroom@flim.com">spareroom@flim.com</a><br>
</p>
==================================================<br>
<b>
Upcoming Readings</b><br>
<br>
4/17&nbsp;&nbsp; Geoffrey G. O'Brien &amp; Michael Weaver<br>
5/22&nbsp;&nbsp; Matthew Cooperman, Aby Kaupang, &amp; Dan Raphael<br>
==================================================<br>
<br>
<b>Barbara Henning</b>
is the author of three novels, seven books of poetry and a series of&nbsp;
photo-poem pamphlets. Her most recent books are a collection of poetry
and prose, <i>Cities &amp; Memory </i>(Chax Press); a novel, <i>Thirty
Miles from Rosebud</i> (BlazeVox); and a collection of object-sonnets, <i>My
Autobiography</i> (United Artists). <i>Looking Up Harryette Mullen</i>
is forthcoming from Belladonna Books. &nbsp;Barbara is a member of the
Belladonna collaborative board and an advisory board member for POG and
Chax Press. Born in Detroit, she has lived in New York City since 1983,
and is presently teaching&nbsp;for Naropa University, as well as Long Island
University in Brooklyn where she is Professor Emerita.<br>
<br>
<div><b>Will Owen</b> has been putting much of his energy into the
Seattle
Autonomous University, a general research group made up of other
research groups which presumes equality and avoids the internet. Thus
far groupuscules have concresced on the topics of Soccer &amp;
Political Economy (PE class); Affect, Aesthetics &amp; Ethics in <i>2666</i>;
and
Feminist Science Fiction; and briefly held regional polity seminars on
public transit buses. An Evergreen graduate, he has written on spite
houses and automated erotica translations, published work in <i>Peaches
and Bats</i>&nbsp;and <i>Off Koot</i>, and worked with Subtext. At the
moment he is trying to see the tenants of classical economics in poetry.</div>
<div><br>
</div>
<p><br>
<b>BAYPORT, LONG ISLAND</b> &nbsp;<br>
&nbsp;-- from <i>Twelve Green Rooms</i> <br>
&nbsp;<br>
A
shock of black hair, little cleft chin, round face, little feet like a
fish. Pelican. Pelican. Pelican. Two weeks later he is more than
one-third larger. One day he'll be over six feet. With a ten foot wing
span and a layer of webbed fibers. Throat pouches full of&nbsp; water&nbsp;&nbsp;
fish&nbsp;&nbsp; oceanic&nbsp;&nbsp;&nbsp;&nbsp; ripple&nbsp;&nbsp; spill&nbsp;&nbsp;&nbsp; sentient&nbsp;&nbsp; brim over&nbsp;&nbsp;&nbsp; full
over&nbsp;&nbsp; The terns are fragile little birds, one dive into the oily water
and they don't resurface. I take the baby into the kitchen, and then in
the red glow of the night light, we sway that baby sway.
Pelicaniformas, ancient symbol of&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; spill out&nbsp;&nbsp; spill over&nbsp;&nbsp;&nbsp; Later
I come down the stairs for a glass of water. In the dark, the tv is on
with no sound and Greg is stretched out in the chair, his big
line-backer body and the infant curled up in his armpit, both sound
asleep. Half a mile south, the Atlantic tide laps against the shore.<br>
</p>
<p><b>Barbara Henning</b></p>
<p><br>
</p>
<p>Eye bag teas<br>
shitbag<br>
[include but don't attach]<br>
<br>
All that is<br>
is pyramids,<br>
scheme milk,<br>
descent:<br>
<br>
"we care"<br>
whereas I modular oil,<br>
making it here<br>
a gas a glass an engine.<br>
<br>
&nbsp;&nbsp; -- <i>April 16th 8:49PM</i></p>
<p><b>Will Owen</b><br>
</p>
</body>
</html>

--------------050306040407020008040206--

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from Dennis Stovall, Ooligan Press/PSU Graduate program in Publishing:

Dear friends and colleagues,

Those of us who were at the first meeting of the OLC recall that this 
marvelous formation was created to save OSU Press from being axed. We 
succeeded. Now it's Ooligan Press and the Publishing Program at PSU that 
need your serious support.

If we do not act immediately, there is a real threat that the program 
will be cut in the name of budgetary efficiency or political expediency. 
Neither makes sense. The press supports itself, and the degree program 
contributes at least four times its costs in tuitions---over a million 
in graduate tuitions vs expenses under $275k. Rather than being an 
expense that ought to be eliminated in tough times, it's a rare source 
of cash to support other good programs. The political expediency 
argument can be easily quashed by broad support.

But money alone is not the reason to keep the program and Ooligan. There 
are over 100 grad students who've come here from all over the country 
solely because of this program. Their work toward a master's degree, one 
that's getting people jobs all over the world, would end abruptly. The 
many authors published by Ooligan would see their books abandoned, some 
of which generate funds for scholarships and organizations or are 
(surprise) income for their authors. The faculty, small though it is, 
would lose their jobs.

In the decade since the program began, 225 students have earned the 
degree. If you aren't one of them, you know one--probably more than one. 
Ooligan is deeply integrated into the literary life of the city and 
state. But it has gained considerable notoriety beyond, and is now one 
of the premier publishing programs anywhere. The program thrives because 
of the unique integration of a working publishing company into a 
graduate level curriculum that meets the needs of a rapidly changing 
industry. In the process, our graduates have consistently won notice and 
accolades from a national audience. Of course, the obvious should be 
stated: the nation's literature only thrives as its publishers thrive. 
No one quite accomplishes what we do, in both theory and practice, as 
well as we do. Our program is well-crafted. Our track record is secure.

Because decisions about cuts can be made precipitously, and because the 
very nature of this program requires long-range predictability, along 
with a quarterly stream of new students to ensure the work of the press, 
the pending decision to not replace me upon my retirement next 
December--or to have a committee of caring faculty (who do not know 
publishing) act as placeholders--compromises the education of the 
students and the integrity of the program. And to possibly not admit 
students for fall term, would end the program immediately. The program 
is already understaffed, with only two full-timers to 120 grad students 
and only two GAs. Compare that to our MFA's approximately 7 students to 
each full-time faculty, plus 8 GAs for a much smaller number of 
students. This is not to say that the MFA deserves less. Clearly, 
publishing needs and deserves more. No wonder the students are outraged.

The graduate students in the program have organized themselves and are 
waging a letter-writing campaign to ensure the future of their program 
and press. Please support their effort. I sure do. By shining a bright 
light on this, I believe we can not only save the program, but enhance 
it. It's a bright star in PSU's sky already, let's really make it shine.

I am pasting below a partial list of talking points and the contact info 
for those who make the decisions.

Thank you,

Dennis

Dennis Stovall
Asst Professor, Department of English
Director, MA/MS in Writing/Publishing
Publisher, Ooligan Press
PO Box 751
Portland, OR 97207

vox 503.725.9410
fax 503.725.3561

stovall@pdx.edu

Ooligan Press:
ooligan@pdx.edu
www.ooligan.pdx.edu
503.725.9748

------------

Questions to focus the letters

. What has the publishing program done for you and meant to you?
. Why is Portland State's publishing program valuable? Why this program, 
in particular?

Helpful facts and talking points are listed below. You'll know by whom 
you're addressing, which things will resonate. But it's your story that 
has power.

Invite people to take a look at us; when writing, always include the 
website url: Website url:http://www.ooliganpress.pdx.edu/

Whom to address
Order of preference: physical letter (letterhead is great), phone call 
(leave a msg), email.

If you can get letters of support from others, please pass on this 
information, if you think it will help.


Jennifer Ruth, Chair
Portland State University
Department of English
PO Box 751
Portland, OR 97207-0751
503-735-4944
ruthj@pdx.edu

Dick Knight, Interim Dean
Portland State University
College of Liberal Arts & Sciences
341 Cramer Hall
P.O. Box 751
Portland OR 97207-0751
503-725-5061

Wim Wiewel, President
Portland State University
President's Office
PO Box 751
Portland, OR 97207-0751
503-725-4411

Roy Koch
Provost & Vice President for Academic Affairs
Office of Academic Affairs
Portland State University
President's Office
PO Box 751
Portland, OR 97207-0751

George Pernsteiner
Chancellor
Chancellor's Office
158 Susan Campbell Hall
Eugene, OR 97403
503-346-5703
george_pernsteiner@ous.edu


PSU Mission Statements
We wear 'em like a glove:http://www.pdx.edu/our-mission

Generic facts

. Begun in 2001.
. Unique among publishing programs wordwide in the integration in a 
graduate curriculum a working publishing house, run by the students.

. Program stats
. Number of students now: "over 100 publishing grad students."
. Number completing the degree, as of this term: 225
. Full-time faculty: 2 (1 until 2009)
. Number of tenured or tenure-track faculty positions created to date: 0
. Number of adjuncts (low salaries, no benefits, limited classes): 10
. Source of adjuncts: professional publishing community
. Education of faculty: 2 MFA, 9 MA or MS (one MFA also has MA in 
Publishing)
. Student to full-time faculty ration: 60 to 1
. Approximate tuition revenue to Oregon University System: $1,200,000
. Approximate expense of the publishing program: $275,000

. Ooligonians get jobs and start businesses: 
http://ooligan.pdx.edu/?page_id=1054.

In fact, grads are now spread across American publishing, and the alums 
are passionate in their support of the program, but not only because 
they're getting wonderful jobs, even in tough times. Take a look at what 
some of them are doing.

. Graduates are book authors:
. Loretta Stinson
. Mark Insalaco
. Mark Lysgaard
. Tim Harnett
. Monica Garcia
. Mel Brumer
. Natalie Guidry
. Jessicah Carver
. Janine Eckhart
. Terra Chapek
. Aaron Furmanek
. Katrina Hill
. Patrick McDonald
. Marianna Hane Wiles

. Graduates and faculty are published writers in many areas besides books.

. Faculty are book authors:
. John Henley
. Charles Seluzicki
. Michelle McCann
. Karen Kirtley
. Dennis Stovall
. Marty Brown

. Books by others published by graduates: hundreds
. Books by others published by faculty: hundreds
. Book published by Ooligan Press and publishing students: 30

. Ooligonians win awards:
. five national book design awards
. one sustainability award
. one sustainability grant

. Publishing faculty win awards and honors (sorry, we haven't gotten
this together on everyone, but there's a lot)
. Dennis Stovall
. Fulbright Specialist Roster (2011--2016)
. Stewart H. Holbrook Award for Outstanding Contributions to Oregon's 
Literary Life,
1998 Oregon Book Awards (with L. Stovall), Literary Arts, Inc.
. Willamette Writers Kaye Snow Award for Lifetime Contributions to the 
Literary Life of Oregon.
. 1996 Zola Helen Ross Founders Award in Recognition of Extraordinary 
Service to
the Northwest Writing Community (with L. Stovall),
Pacific Northwest Writers Association, Seattle.
. "Distinguished Technical Communication, Book" and "Best of Show" 
awards in 1993--1994
from the Willamette Valley Chapter, Society for Technical Communication.
For authorship and design of Classroom Publishing.
. 1994 Bookends Award in Recognition of Outstanding Service.
Northwest Association of Book Publishers (with L. Stovall).
. 1992 Best of Show, Bumbershoot Literary Arts Festival, Seattle, for 
Classroom Publishing.
. 1986 Most Significant Contribution Award, Bumbershoot Literary Arts 
Festival, Seattle,
for Writer's Northwest Handbook.
. 1986 Writer's Northwest Handbook designated an Official Resource of
the Center for the Book in the Library of Congress.

. Academic presentations by students: 10
. 9 at the National Council of Teachers of English conventions in
NYC (2008), San Antonio (2009), and Philadelphia (2010).
. 1 at PSU's Rhetoric and Composition conference.)

. Other presentations by students:
. Annually at Oregon Council of Teachers of English
. Oregon Library Association
. Pacific Northwest American Studies Association (PNASA) conference
. McNair Scholars'
. Idaho Writers League State Conference
. Molalla Writers Faire
. Write on the Sound (Edmonds)
. Multnomah County Library Writer's Fair
. Whidbey Island Writers Conference
. GetLit! Literary Festival, Spokane
. Wordstock

. Presentations by faculty: writing, publishing, and teaching 
conferences and conventions,
local to national and regularly.

. Partnerships:
. Student Press Initiative in Teachers College, Graduate School of 
Education, Columbia University, NY.
. Chinese Consolidated Benevolent Assn of Oregon
. Arlington Club
. Daily Astorian/East Oregonian Publishing
. RAPS (PSU retired faculty; publication of PSU pictorial history)
. Worked with Oregon Dept of Labor on Oregon at Work by Fuller & Ayre
. Worked with Oregon 150 Commission on Oregon Stories
. Ministry of Culture, Republic of Croatia (3 titles in translation)
. Swiss-German Foundation (1 work in translation that won a major award)

. PSU Community Service:
. School of Education: creating teacher guides for Ooligan books with 
teachers-in-training
. Russian Flagship Program: Russian students writing and illustrating 
children's
books in Russian, published and distributed by Ooligan Press
. Geography Department: graduate students in Geography creating maps for 
publication in Ooligan books
. Geology Department: John Eliot Allen Scholarship Fund supported by 
sales of
Cataclysms on the Columbia: The Great Missoula Floods, Ooligan's 2nd 
best-selling title
. Institute for Sustainable Solutions: Co-teaching classes in the 
sustainable
future of the publishing industry
. English Department: Design and editorial assistance with departmental 
announcements and materials
. Undergraduate Capstones: providing content and projects for Capstone 
classes

. Writers published by Ooligan Press (in single editions and collections)
. John Eliot Allen
. Marjorie Burns
. Scott Burns
. Edo Popovic
. Dubravka Oriec-Tolic
. Gordan Nuhanovic
. Robin Cody
. Jan Baross
. Sid Miller
. William Stafford
. Judith Barrington
. Peter Sears
. Leanne Grabel
. Ingrid Wendt
. David Memmott
. Robert Hill Long
. Vern Rutsala
. Floyd Skloot
. Margaret Chula
. Mark Thalman
. Erik Muller
. Barbara LaMorticella
. Kim Stafford
. Paulann Petersen
. Amyu Minato
. Barbara Drake
. James Grabill
. Charles Goodrich
. Deane Averill
. Ralph Salisbury
. George Hitchcock
. Janice Gould
. Richard Marck
. Rob Whitbeck
. George Venn
. David Axelrod
. Ellen Waterston
. Steve Dieffenbacher
. Vincent Wixon
. Jonah Bornstein
. Patricia Wixon
. Danae Yurgel
. Geronimo Tagatac
. Anne Jennings Paris
. M. Thomas Cooper
. Tony Wolk
. Gary D. Cole
. Christoph Keller
. Liz Nakazawa (ed)
. Matko Marusic
. Chinese Consolidated Benevolent Assn
. The Daily Astorian
. Linda Crew
. Art Ayre
. Tom Fuller
. Michael Munk
. Jan Haaken
. Ariel Ladum
. Seiza de Tarr
. Kayt Zundel
. Caleb Heymann
. Mark Budman
. Tom Hazuka
. Katharine Weber
. Susan O'Neill
. Ian Randall Wilson
. Steve Almond
. Michelle Richmond
. Beverly A. Jackson
. Avital Gad-Cykman
. Deb Olin Unferth
. G.W. Cox
. Daniel A. Olivas
. David Schuman
. Chauna Craig
. Kellie Wells
. Randall DeVallance
. Vylar Kaftan
. Justine Musk
. Bonnie Jo Campbell
. Sherrie Flick
. Bruce Taylor
. L.E. Leone
. Pamela Painter
. Marge Ballif Simon
. Lincoln Michel
. Sonya Taaffe
. Aimee Bender
. Sarah Arellano
. John Briggs
. Jesssica Treat
. Dave Fromm
. Neno Perrotta
. Pedro Ponce
. Kay Sexton
. M. J. Rose
. Robert Reynolds
. Alex Irvine
. Steve Frederick
. Bruce Holland Rogers
. Gayle Brandeis
. Bruce Holland Rogers
. Bruce Boston
. Robert Boswell
. Michael A. Arnzen
. Patrick Weekes

Donors/FOOP

. Friends of Ooligan Press support the publishing program in fundraising 
and community outreach.
Contact: George Wright, C3 Publications,<georgec3pub@comcast.net>
Helen Kennedy, Kennedy-Lewis Associates, <htkenn@aol.com>
. Ooligan students actively participate in fundraising, working with FOOP
. Ooligan is active with the PSU Foundation
. have been working with PSU Development Office since September 2010
on grants, an alumni giving program, and endowments
. Over $100,000 raised from donors to support the press

Publishing Community

. Internships:
. Tin House
. Timber Press
. Dark Horse Comics
. Hawthorne Books
. Oni Press
. Wordstock
. KATU Television
. Levine Greenberg Literary Agency
. Penguin
. Simon & Schuster
. Folio Literary Management
. Oregon Historical Society
. Literary Arts
. Ink & Paper Group
. Bowler Hat Comics
. Willamette Week
. 826 Seattle
. Arnica Publishing
. Graphic Arts Center Publishing
. Bitch Magazine
. Brass Magazine
. Performer Magazine
. Pinball Publishing
. Division Street Media
. Raintown Press
. Beyond Words
. Future Tense Books
. Mountain Writers
. Health Notes
. Grove Review
. Himalaya Journal
. Bakers Mark Literary Agency
. Hoyt Arboretum
. Indigo Editing
. Poetry Northwest Journal
. Dame Rocket Press
. Sports Car Market Magazine
. Cultivator Press
. Oregon Business Magazine
. Portland Monthly Magazine
. Oregon English Journal
. Publisher's Association of the West
. Sterling Editing
. Declaration Editing
. Underland Press
. Bedoin Books
. Hoboeye Journal
. Might Pen Editing
. 4&20 Press
. Collector's Press
. Neighborhood Notes

Writing Community

. Working with groups:
. Wordstock (a significant portion of the volunteer staff at all levels)
. Oregon Council of Teachers of English
. Willamette Writers
. Mountain Writers
. Write Around Portland
. Portland Women Writers
. p:ear
. volunteering in elementary, middle, and high schools all over Oregon

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<div class="moz-text-plain" wrap="true" style="font-size: 16px;"
 lang="x-western">from Dennis Stovall, Ooligan Press/PSU Graduate
program in Publishing:<br>
<br>
Dear friends and colleagues,<br>
<br>
Those of us who were at the first meeting of the OLC recall that this
marvelous formation was created to save OSU Press from being axed. We
succeeded. Now it's Ooligan Press and the Publishing Program at PSU
that need your serious support.<br>
<br>
If we do not act immediately, there is a real threat that the program
will be cut in the name of budgetary efficiency or political
expediency. Neither makes sense. The press supports itself, and the
degree program contributes at least four times its costs in
tuitions&#8212;over a million in graduate tuitions vs expenses under $275k.
Rather than being an expense that ought to be eliminated in tough
times, it's a rare source of cash to support other good programs. The
political expediency argument can be easily quashed by broad support.<br>
<br>
But money alone is not the reason to keep the program and Ooligan.
There are over 100 grad students who've come here from all over the
country solely because of this program. Their work toward a master's
degree, one that's getting people jobs all over the world, would end
abruptly. The many authors published by Ooligan would see their books
abandoned, some of which generate funds for scholarships and
organizations or are (surprise) income for their authors. The faculty,
small though it is, would lose their jobs.<br>
<br>
In the decade since the program began, 225 students have earned the
degree. If you aren't one of them, you know one--probably more than
one. Ooligan is deeply integrated into the literary life of the city
and state. But it has gained considerable notoriety beyond, and is now
one of the premier publishing programs anywhere. The program thrives
because of the unique integration of a working publishing company into
a graduate level curriculum that meets the needs of a rapidly changing
industry. In the process, our graduates have consistently won notice
and accolades from a national audience. Of course, the obvious should
be stated: the nation&#8217;s literature only thrives as its publishers
thrive. No one quite accomplishes what we do, in both theory and
practice, as well as we do. Our program is well-crafted. Our track
record is secure.<br>
<br>
Because decisions about cuts can be made precipitously, and because the
very nature of this program requires long-range predictability, along
with a quarterly stream of new students to ensure the work of the
press, the pending decision to not replace me upon my retirement next
December--or to have a committee of caring faculty (who do not know
publishing) act as placeholders--compromises the education of the
students and the integrity of the program. And to possibly not admit
students for fall term, would end the program immediately. The program
is already understaffed, with only two full-timers to 120 grad students
and only two GAs. Compare that to our MFA's approximately 7 students to
each full-time faculty, plus 8 GAs for a much smaller number of
students. This is not to say that the MFA deserves less. Clearly,
publishing needs and deserves more. No wonder the students are outraged.<br>
<br>
The graduate students in the program have organized themselves and are
waging a letter-writing campaign to ensure the future of their program
and press. Please support their effort. I sure do. By shining a bright
light on this, I believe we can not only save the program, but enhance
it. It's a bright star in PSU's sky already, let's really make it shine.<br>
<br>
I am pasting below a partial list of talking points and the contact
info for those who make the decisions.<br>
<br>
Thank you,<br>
<br>
Dennis<br>
<br>
Dennis Stovall<br>
Asst Professor, Department of English<br>
Director, MA/MS in Writing/Publishing<br>
Publisher, Ooligan Press<br>
PO Box 751<br>
Portland, OR 97207<br>
<br>
vox 503.725.9410<br>
fax 503.725.3561<br>
<br>
<a class="moz-txt-link-abbreviated" href="mailto:stovall@pdx.edu">stovall@pdx.edu</a><br>
<br>
Ooligan Press:<br>
<a class="moz-txt-link-abbreviated" href="mailto:ooligan@pdx.edu">ooligan@pdx.edu</a><br>
<a class="moz-txt-link-abbreviated" href="http://www.ooligan.pdx.edu">www.ooligan.pdx.edu</a><br>
503.725.9748<br>
<br>
------------<br>
<br>
Questions to focus the letters<br>
<br>
&#8226; What has the publishing program done for you and meant to you?<br>
&#8226; Why is Portland State&#8217;s publishing program valuable? Why this
program, in particular?<br>
<br>
Helpful facts and talking points are listed below. You&#8217;ll know by whom
you&#8217;re addressing, which things will resonate. But it&#8217;s your story that
has power.<br>
<br>
Invite people to take a look at us; when writing, always include the
website url: Website url:<a class="moz-txt-link-freetext"
 href="http://www.ooliganpress.pdx.edu/">http://www.ooliganpress.pdx.edu/</a><br>
<br>
Whom to address<br>
Order of preference: physical letter (letterhead is great), phone call
(leave a msg), email.<br>
<br>
If you can get letters of support from others, please pass on this
information, if you think it will help.<br>
<br>
<br>
Jennifer Ruth, Chair<br>
Portland State University<br>
Department of English<br>
PO Box 751<br>
Portland, OR 97207-0751<br>
503-735-4944<br>
<a class="moz-txt-link-abbreviated" href="mailto:ruthj@pdx.edu">ruthj@pdx.edu</a><br>
<br>
Dick Knight, Interim Dean<br>
Portland State University<br>
College of Liberal Arts &amp; Sciences<br>
341 Cramer Hall<br>
P.O. Box 751<br>
Portland OR 97207-0751<br>
503-725-5061<br>
<br>
Wim Wiewel, President<br>
Portland State University<br>
President's Office<br>
PO Box 751<br>
Portland, OR 97207-0751<br>
503-725-4411<br>
<br>
Roy Koch<br>
Provost &amp; Vice President for Academic Affairs<br>
Office of Academic Affairs<br>
Portland State University<br>
President's Office<br>
PO Box 751<br>
Portland, OR 97207-0751<br>
<br>
George Pernsteiner<br>
Chancellor<br>
Chancellor&#8217;s Office<br>
158 Susan Campbell Hall<br>
Eugene, OR 97403<br>
503-346-5703<br>
<a class="moz-txt-link-abbreviated"
 href="mailto:george_pernsteiner@ous.edu">george_pernsteiner@ous.edu</a><br>
<br>
<br>
PSU Mission Statements<br>
We wear &#8217;em like a glove:<a class="moz-txt-link-freetext"
 href="http://www.pdx.edu/our-mission">http://www.pdx.edu/our-mission</a><br>
<br>
Generic facts<br>
<br>
&#8226; Begun in 2001.<br>
&#8226; Unique among publishing programs wordwide in the integration in a
graduate curriculum a working publishing house, run by the students.<br>
<br>
&#8226; Program stats<br>
&#8226; Number of students now: &#8220;over 100 publishing grad students.&#8221;<br>
&#8226; Number completing the degree, as of this term: 225<br>
&#8226; Full-time faculty: 2 (1 until 2009)<br>
&#8226; Number of tenured or tenure-track faculty positions created to date: 0<br>
&#8226; Number of adjuncts (low salaries, no benefits, limited classes): 10<br>
&#8226; Source of adjuncts: professional publishing community<br>
&#8226; Education of faculty: 2 MFA, 9 MA or MS (one MFA also has MA in
Publishing)<br>
&#8226; Student to full-time faculty ration: 60 to 1<br>
&#8226; Approximate tuition revenue to Oregon University System: $1,200,000<br>
&#8226; Approximate expense of the publishing program: $275,000<br>
<br>
&#8226; Ooligonians get jobs and start businesses: <a
 class="moz-txt-link-freetext"
 href="http://ooligan.pdx.edu/?page_id=1054">http://ooligan.pdx.edu/?page_id=1054</a>.<br>
<br>
In fact, grads are now spread across American publishing, and the alums
are passionate in their support of the program, but not only because
they&#8217;re getting wonderful jobs, even in tough times. Take a look at
what some of them are doing.<br>
<br>
&#8226; Graduates are book authors:<br>
&#8226; Loretta Stinson<br>
&#8226; Mark Insalaco<br>
&#8226; Mark Lysgaard<br>
&#8226; Tim Harnett<br>
&#8226; Monica Garcia<br>
&#8226; Mel Brumer<br>
&#8226; Natalie Guidry<br>
&#8226; Jessicah Carver<br>
&#8226; Janine Eckhart<br>
&#8226; Terra Chapek<br>
&#8226; Aaron Furmanek<br>
&#8226; Katrina Hill<br>
&#8226; Patrick McDonald<br>
&#8226; Marianna Hane Wiles<br>
<br>
&#8226; Graduates and faculty are published writers in many areas besides
books.<br>
<br>
&#8226; Faculty are book authors:<br>
&#8226; John Henley<br>
&#8226; Charles Seluzicki<br>
&#8226; Michelle McCann<br>
&#8226; Karen Kirtley<br>
&#8226; Dennis Stovall<br>
&#8226; Marty Brown<br>
<br>
&#8226; Books by others published by graduates: hundreds<br>
&#8226; Books by others published by faculty: hundreds<br>
&#8226; Book published by Ooligan Press and publishing students: 30<br>
<br>
&#8226; Ooligonians win awards:<br>
&#8226; five national book design awards<br>
&#8226; one sustainability award<br>
&#8226; one sustainability grant<br>
<br>
&#8226; Publishing faculty win awards and honors (sorry, we haven&#8217;t gotten <br>
this together on everyone, but there&#8217;s a lot)<br>
&#8226; Dennis Stovall<br>
&#8226; Fulbright Specialist Roster (2011&#8211;2016)<br>
&#8226; Stewart H. Holbrook Award for Outstanding Contributions to Oregon&#8217;s
Literary Life,<br>
1998 Oregon Book Awards (with L. Stovall), Literary Arts, Inc.<br>
&#8226; Willamette Writers Kaye Snow Award for Lifetime Contributions to the
Literary Life of Oregon.<br>
&#8226; 1996 Zola Helen Ross Founders Award in Recognition of Extraordinary
Service to<br>
the Northwest Writing Community (with L. Stovall),<br>
Pacific Northwest Writers Association, Seattle.<br>
&#8226; &#8220;Distinguished Technical Communication, Book&#8221; and &#8220;Best of Show&#8221;
awards in 1993&#8211;1994<br>
from the Willamette Valley Chapter, Society for Technical Communication.<br>
For authorship and design of Classroom Publishing.<br>
&#8226; 1994 Bookends Award in Recognition of Outstanding Service.<br>
Northwest Association of Book Publishers (with L. Stovall).<br>
&#8226; 1992 Best of Show, Bumbershoot Literary Arts Festival, Seattle, for
Classroom Publishing.<br>
&#8226; 1986 Most Significant Contribution Award, Bumbershoot Literary Arts
Festival, Seattle,<br>
for Writer&#8217;s Northwest Handbook.<br>
&#8226; 1986 Writer&#8217;s Northwest Handbook designated an Official Resource of<br>
the Center for the Book in the Library of Congress.<br>
<br>
&#8226; Academic presentations by students: 10<br>
&#8226; 9 at the National Council of Teachers of English conventions in <br>
NYC (2008), San Antonio (2009), and Philadelphia (2010). <br>
&#8226; 1 at PSU&#8217;s Rhetoric and Composition conference.)<br>
<br>
&#8226; Other presentations by students:<br>
&#8226; Annually at Oregon Council of Teachers of English<br>
&#8226; Oregon Library Association<br>
&#8226; Pacific Northwest American Studies Association (PNASA) conference<br>
&#8226; McNair Scholars&#8217; <br>
&#8226; Idaho Writers League State Conference<br>
&#8226; Molalla Writers Faire<br>
&#8226; Write on the Sound (Edmonds)<br>
&#8226; Multnomah County Library Writer&#8217;s Fair<br>
&#8226; Whidbey Island Writers Conference<br>
&#8226; GetLit! Literary Festival, Spokane<br>
&#8226; Wordstock<br>
<br>
&#8226; Presentations by faculty: writing, publishing, and teaching
conferences and conventions,<br>
local to national and regularly.<br>
<br>
&#8226; Partnerships:<br>
&#8226; Student Press Initiative in Teachers College, Graduate School of
Education, Columbia University, NY.<br>
&#8226; Chinese Consolidated Benevolent Assn of Oregon<br>
&#8226; Arlington Club<br>
&#8226; Daily Astorian/East Oregonian Publishing<br>
&#8226; RAPS (PSU retired faculty; publication of PSU pictorial history)<br>
&#8226; Worked with Oregon Dept of Labor on Oregon at Work by Fuller &amp;
Ayre<br>
&#8226; Worked with Oregon 150 Commission on Oregon Stories<br>
&#8226; Ministry of Culture, Republic of Croatia (3 titles in translation)<br>
&#8226; Swiss-German Foundation (1 work in translation that won a major award)<br>
<br>
&#8226; PSU Community Service:<br>
&#8226; School of Education: creating teacher guides for Ooligan books with
teachers-in-training<br>
&#8226; Russian Flagship Program: Russian students writing and illustrating
children&#8217;s<br>
books in Russian, published and distributed by Ooligan Press<br>
&#8226; Geography Department: graduate students in Geography creating maps
for publication in Ooligan books<br>
&#8226; Geology Department: John Eliot Allen Scholarship Fund supported by
sales of<br>
Cataclysms on the Columbia: The Great Missoula Floods, Ooligan&#8217;s 2nd
best-selling title<br>
&#8226; Institute for Sustainable Solutions: Co-teaching classes in the
sustainable<br>
future of the publishing industry<br>
&#8226; English Department: Design and editorial assistance with departmental
announcements and materials<br>
&#8226; Undergraduate Capstones: providing content and projects for Capstone
classes<br>
<br>
&#8226; Writers published by Ooligan Press (in single editions and
collections)<br>
&#8226; John Eliot Allen<br>
&#8226; Marjorie Burns<br>
&#8226; Scott Burns<br>
&#8226; Edo Popovic<br>
&#8226; Dubravka Oriec-Tolic<br>
&#8226; Gordan Nuhanovic<br>
&#8226; Robin Cody<br>
&#8226; Jan Baross<br>
&#8226; Sid Miller<br>
&#8226; William Stafford<br>
&#8226; Judith Barrington<br>
&#8226; Peter Sears<br>
&#8226; Leanne Grabel<br>
&#8226; Ingrid Wendt<br>
&#8226; David Memmott<br>
&#8226; Robert Hill Long<br>
&#8226; Vern Rutsala<br>
&#8226; Floyd Skloot<br>
&#8226; Margaret Chula<br>
&#8226; Mark Thalman<br>
&#8226; Erik Muller<br>
&#8226; Barbara LaMorticella<br>
&#8226; Kim Stafford<br>
&#8226; Paulann Petersen<br>
&#8226; Amyu Minato<br>
&#8226; Barbara Drake<br>
&#8226; James Grabill<br>
&#8226; Charles Goodrich<br>
&#8226; Deane Averill<br>
&#8226; Ralph Salisbury<br>
&#8226; George Hitchcock<br>
&#8226; Janice Gould<br>
&#8226; Richard Marck<br>
&#8226; Rob Whitbeck<br>
&#8226; George Venn<br>
&#8226; David Axelrod<br>
&#8226; Ellen Waterston<br>
&#8226; Steve Dieffenbacher<br>
&#8226; Vincent Wixon<br>
&#8226; Jonah Bornstein<br>
&#8226; Patricia Wixon<br>
&#8226; Danae Yurgel<br>
&#8226; Geronimo Tagatac<br>
&#8226; Anne Jennings Paris<br>
&#8226; M. Thomas Cooper<br>
&#8226; Tony Wolk<br>
&#8226; Gary D. Cole<br>
&#8226; Christoph Keller<br>
&#8226; Liz Nakazawa (ed)<br>
&#8226; Matko Marusic<br>
&#8226; Chinese Consolidated Benevolent Assn<br>
&#8226; The Daily Astorian<br>
&#8226; Linda Crew<br>
&#8226; Art Ayre<br>
&#8226; Tom Fuller<br>
&#8226; Michael Munk<br>
&#8226; Jan Haaken<br>
&#8226; Ariel Ladum<br>
&#8226; Seiza de Tarr<br>
&#8226; Kayt Zundel<br>
&#8226; Caleb Heymann<br>
&#8226; Mark Budman<br>
&#8226; Tom Hazuka<br>
&#8226; Katharine Weber<br>
&#8226; Susan O&#8217;Neill<br>
&#8226; Ian Randall Wilson<br>
&#8226; Steve Almond<br>
&#8226; Michelle Richmond<br>
&#8226; Beverly A. Jackson<br>
&#8226; Avital Gad-Cykman<br>
&#8226; Deb Olin Unferth<br>
&#8226; G.W. Cox<br>
&#8226; Daniel A. Olivas<br>
&#8226; David Schuman<br>
&#8226; Chauna Craig<br>
&#8226; Kellie Wells<br>
&#8226; Randall DeVallance<br>
&#8226; Vylar Kaftan<br>
&#8226; Justine Musk<br>
&#8226; Bonnie Jo Campbell<br>
&#8226; Sherrie Flick<br>
&#8226; Bruce Taylor<br>
&#8226; L.E. Leone<br>
&#8226; Pamela Painter<br>
&#8226; Marge Ballif Simon<br>
&#8226; Lincoln Michel<br>
&#8226; Sonya Taaffe<br>
&#8226; Aimee Bender<br>
&#8226; Sarah Arellano<br>
&#8226; John Briggs<br>
&#8226; Jesssica Treat<br>
&#8226; Dave Fromm<br>
&#8226; Neno Perrotta<br>
&#8226; Pedro Ponce<br>
&#8226; Kay Sexton<br>
&#8226; M. J. Rose<br>
&#8226; Robert Reynolds<br>
&#8226; Alex Irvine<br>
&#8226; Steve Frederick<br>
&#8226; Bruce Holland Rogers<br>
&#8226; Gayle Brandeis<br>
&#8226; Bruce Holland Rogers<br>
&#8226; Bruce Boston<br>
&#8226; Robert Boswell<br>
&#8226; Michael A. Arnzen<br>
&#8226; Patrick Weekes<br>
<br>
Donors/FOOP<br>
<br>
&#8226; Friends of Ooligan Press support the publishing program in
fundraising and community outreach.<br>
Contact: George Wright, C3 Publications,<a class="moz-txt-link-rfc2396E"
 href="mailto:georgec3pub@comcast.net">&lt;georgec3pub@comcast.net&gt;</a><br>
Helen Kennedy, Kennedy-Lewis Associates, <a
 class="moz-txt-link-rfc2396E" href="mailto:htkenn@aol.com">&lt;htkenn@aol.com&gt;</a><br>
&#8226; Ooligan students actively participate in fundraising, working with
FOOP<br>
&#8226; Ooligan is active with the PSU Foundation<br>
&#8226; have been working with PSU Development Office since September 2010<br>
on grants, an alumni giving program, and endowments<br>
&#8226; Over $100,000 raised from donors to support the press<br>
<br>
Publishing Community<br>
<br>
&#8226; Internships:<br>
&#8226; Tin House<br>
&#8226; Timber Press<br>
&#8226; Dark Horse Comics<br>
&#8226; Hawthorne Books<br>
&#8226; Oni Press<br>
&#8226; Wordstock<br>
&#8226; KATU Television<br>
&#8226; Levine Greenberg Literary Agency<br>
&#8226; Penguin<br>
&#8226; Simon &amp; Schuster<br>
&#8226; Folio Literary Management<br>
&#8226; Oregon Historical Society<br>
&#8226; Literary Arts<br>
&#8226; Ink &amp; Paper Group<br>
&#8226; Bowler Hat Comics<br>
&#8226; Willamette Week<br>
&#8226; 826 Seattle<br>
&#8226; Arnica Publishing<br>
&#8226; Graphic Arts Center Publishing<br>
&#8226; Bitch Magazine<br>
&#8226; Brass Magazine<br>
&#8226; Performer Magazine<br>
&#8226; Pinball Publishing<br>
&#8226; Division Street Media<br>
&#8226; Raintown Press<br>
&#8226; Beyond Words<br>
&#8226; Future Tense Books<br>
&#8226; Mountain Writers<br>
&#8226; Health Notes<br>
&#8226; Grove Review<br>
&#8226; Himalaya Journal<br>
&#8226; Bakers Mark Literary Agency<br>
&#8226; Hoyt Arboretum<br>
&#8226; Indigo Editing<br>
&#8226; Poetry Northwest Journal<br>
&#8226; Dame Rocket Press<br>
&#8226; Sports Car Market Magazine<br>
&#8226; Cultivator Press<br>
&#8226; Oregon Business Magazine<br>
&#8226; Portland Monthly Magazine<br>
&#8226; Oregon English Journal<br>
&#8226; Publisher&#8217;s Association of the West<br>
&#8226; Sterling Editing<br>
&#8226; Declaration Editing<br>
&#8226; Underland Press<br>
&#8226; Bedoin Books<br>
&#8226; Hoboeye Journal<br>
&#8226; Might Pen Editing<br>
&#8226; 4&amp;20 Press<br>
&#8226; Collector&#8217;s Press<br>
&#8226; Neighborhood Notes<br>
<br>
Writing Community<br>
<br>
&#8226; Working with groups:<br>
&#8226; Wordstock (a significant portion of the volunteer staff at all levels)<br>
&#8226; Oregon Council of Teachers of English<br>
&#8226; Willamette Writers<br>
&#8226; Mountain Writers<br>
&#8226; Write Around Portland<br>
&#8226; Portland Women Writers<br>
&#8226; p:ear<br>
&#8226; volunteering in elementary, middle, and high schools all over Oregon<br>
</div>
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The Dill Pickle Club, Publication Studio, & YU present:

*/Twenty Seven Installations/*
lecture and panel discussion

Thursday, March 31, 7:00 pm
YU <http://www.yucontemporary.org/>
800 SE 10th Avee

Free-$10 (sliding scale donations)
http://dillpickleclub.com/events

**With guests:

* *

*Mary Beebe*, PCVA Director, Director of Stuart Collection at University 
of California at San Diego*
Mel Katz*, PCVA Co-Founder, Artist*
Tad Savinar*, PCVA board member, Artist, /Talk Radio/ author*
Paul Sutinen*, PCVA board member, Director of Art Programs, Department 
of Art & Interior Design, Marylhurst University*
Lisa Radon*, Arts writer, /Portland Monthly/, /Ultra PDX/

On Thursday, March 31, YU in collaboration with the Dill Pickle Club and 
Publication Studio present */Twenty Seven Installations/*, a lecture on 
Portland Center for the Visual Arts (PCVA). A book of the same title, 
originally produced in 1989, will be made available again in a new edition.

PCVA (1972-1987) was Portland's first contemporary art center. The 
center hosted exhibitions, lectures, music performances and video 
screenings from artists with national standing, alongside a burgeoning 
Portland arts community. Many pioneering artists, including Richard 
Serra, Vito Acconci, Alice Aycock, Donald Judd and Sol Lewitt exhibited 
at PCVA. The center provided a model of a multidisciplinary arts venue 
focused on avant garde, non-commercial and cutting edge work and was 
soon emulated by other organizations around the country.

The lecture will begin with an introduction by Lisa Radon, who will 
present a brief overview. She will then lead an interview-style panel 
discussion with guests who were instrumental in the space, including 
former PCVA Director Mary Beebe (currently Director of Stuart Collection 
at University of California at San Diego), PCVA Co-Founder Mel Katz and 
PCVA Board Members Paul Sutinen and Tad Savinar. Together, the group 
will explore the space's history and relevance to Portland today, before 
a Q & A with the audience.

The event will make available the reprinted book /*Twenty Seven 
Installations*/. Self-produced by PCVA, the publication documented the 
entirety of its installation-based exhibitions. The book has long been 
out-of-print and costly to obtain. It will now be available through 
on-demand publishing by Publication Studio.

*PRESENTER BIOGRAPHIES*
*LISA RADON* has written essays, reviews and profiles that have been 
published in /Drain/, /Oregon Humanities/, /Portland Monthly/, /Surface 
Design Journal/, /SHIFT /(Japan), /FLAUNT/ (LA), /Hyperallergic /(NY), 
/art ltd/., and elsewhere. She is founding editor of /ultra/ 
(ultrapdx.com <http://ultrapdx.com/>) where she has been writing about 
design, art, dance and performance in Portland since 2005. She is 
currently working on a book about PCVA.
*
MARY BEEBE* was Director of PCVA from 1972-1981. She is currently 
Director of Stuart Collection at University of California at San Diego, 
where she commissions contemporary outdoor sculptures for the UCSD 
campus. Beebe serves on numerous boards and committees including the 
Board of Directors of Art Matters, Inc., New York; the Art Advisory 
Board for the University of California; San Francisco's new Mission Bay 
campus and the Public Art Committee for the San Diego Commission for 
Arts and Culture. She has lectured widely and served on many panels for 
the National Endowment for the Arts and as juror or advisor for public 
art projects across the country and in Europe.
*
MEL KATZ* is one of three Co-Founders of PCVA. He is well known for his 
metal sculptural work, several which have been installed as public art 
throughout Portland. His work is represented by Laura Russo Gallery. He 
was a Professor of Fine Arts at Portland State University, before 
retiring to focus on his own practice in 1998.
*
TAD SAVINAR* was a Board Member of PCVA. As an artist, he has always 
worked across media, including cast bronze, etched glass, print and 
paint, while the written word has remained a constant. He has received 
several National Endowment for the Arts Individual Fellowships, and is 
included in the collections of Portland Art Museum, Smithsonian 
Institute National Archives and Museum of Modern Art in New York, among 
others. Tad has served on numerous design teams across the country and 
has written five original stage plays. His work is represented by PDX 
Contemporary Art in Portland.
*
PAUL SUTINEN* was an exhibiting artist at PCVA and Board Member. He was 
Willamette Week Art Critic 1974-1983. He has received grants for his 
artwork from the Oregon Community Foundation, Regional Arts and Culture 
Council and National Endowment for the Arts. Currently, Paul is Co-Chair 
and Director of Art Programs, Department of Art & Interior Design at 
Marylhurst University.

*
*


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<p>The Dill Pickle Club, Publication Studio, &amp; YU present:</p>
<p><strong><em>Twenty Seven Installations</em></strong><br>
lecture and panel discussion</p>
<p>Thursday, March 31, 7:00 pm<br>
<a href="http://www.yucontemporary.org/" target="_blank">YU</a><br>
800 SE 10th Avee<br>
</p>
<p>Free-$10 (sliding scale donations)<br>
<a class="moz-txt-link-freetext" href="http://dillpickleclub.com/events">http://dillpickleclub.com/events</a><br>
<br>
</p>
<p><strong></strong>With guests:</p>
<p><strong> </strong></p>
<p><strong>Mary Beebe</strong>, PCVA Director, Director of Stuart
Collection at University of California at San Diego<strong><br>
Mel Katz</strong>, PCVA Co-Founder, Artist<strong><br>
Tad Savinar</strong>, PCVA board member, Artist, <em>Talk Radio</em>
author<strong><br>
Paul Sutinen</strong>, PCVA board member, Director of Art Programs,
Department of Art &amp; Interior Design, Marylhurst University<strong><br>
Lisa Radon</strong>, Arts writer, <em>Portland Monthly</em>, <em>Ultra
PDX</em></p>
<p>On Thursday, March 31, YU in collaboration with the Dill Pickle Club
and Publication Studio present <strong><em>Twenty Seven Installations</em></strong>,
a
lecture
on
Portland Center for the Visual Arts (PCVA). A book of the
same title, originally produced in 1989, will be made available again
in a new edition.</p>
<p>PCVA (1972-1987) was Portland&#8217;s first contemporary art center. The
center hosted exhibitions, lectures, music performances and video
screenings from artists with national standing, alongside a burgeoning
Portland arts community. Many pioneering artists, including Richard
Serra, Vito Acconci, Alice Aycock, Donald Judd and Sol Lewitt exhibited
at PCVA. The center provided a model of a multidisciplinary arts venue
focused on avant garde, non-commercial and cutting edge work and was
soon emulated by other organizations around the country.</p>
<p>The lecture will begin with an introduction by Lisa Radon, who will
present a brief overview. She will then lead an interview-style panel
discussion with guests who were instrumental in the space, including
former PCVA Director Mary Beebe (currently Director of Stuart
Collection at University of California at San Diego), PCVA Co-Founder
Mel Katz and PCVA Board Members Paul Sutinen and Tad Savinar. Together,
the group will explore the space&#8217;s history and relevance to Portland
today, before a Q &amp; A with the audience.</p>
<p>The event will make available the reprinted book <em><strong>Twenty
Seven Installations</strong></em>.
Self-produced by PCVA, the publication documented the entirety of its
installation-based exhibitions. The book has long been out-of-print and
costly to obtain. It will now be available through on-demand publishing
by Publication Studio.</p>
<p><strong>PRESENTER BIOGRAPHIES</strong><br>
<strong>LISA RADON</strong> has written essays, reviews and profiles
that have been published in <em>Drain</em>, <em>Oregon Humanities</em>,
<em>Portland Monthly</em>, <em>Surface Design Journal</em>, <em>SHIFT
</em>(Japan), <em>FLAUNT</em> (LA), <em>Hyperallergic </em>(NY), <em>art
ltd</em>., and elsewhere. She is founding editor of <em>ultra</em> (<a
 href="http://ultrapdx.com/" target="_blank">ultrapdx.com</a>)
where she has been writing about design, art, dance and performance in
Portland since 2005. She is currently working on a book about PCVA.<br>
<strong><br>
MARY BEEBE</strong> was Director of PCVA from 1972-1981.
She is currently Director of Stuart Collection at University of
California at San Diego, where she commissions contemporary outdoor
sculptures for the UCSD campus. Beebe serves on numerous boards and
committees including the Board of Directors of Art Matters, Inc., New
York; the Art Advisory Board for the University of California; San
Francisco&#8217;s new Mission Bay campus and the Public Art Committee for the
San Diego Commission for Arts and Culture. She has lectured widely and
served on many panels for the National Endowment for the Arts and as
juror or advisor for public art projects across the country and in
Europe.<br>
<strong><br>
MEL KATZ</strong> is one of three Co-Founders of PCVA. He
is well known for his metal sculptural work, several which have been
installed as public art throughout Portland. His work is represented by
Laura Russo Gallery. He was a Professor of Fine Arts at Portland State
University, before retiring to focus on his own practice in 1998.<br>
<strong><br>
TAD SAVINAR</strong> was a Board Member of PCVA. As an
artist, he has always worked across media, including cast bronze,
etched glass, print and paint, while the written word has remained a
constant. He has received several National Endowment for the Arts
Individual Fellowships, and is included in the collections of Portland
Art Museum, Smithsonian Institute National Archives and Museum of
Modern Art in New York, among others. Tad has served on numerous design
teams across the country and has written five original stage plays. His
work is represented by PDX Contemporary Art in Portland.<br>
<strong><br>
PAUL SUTINEN</strong> was an exhibiting artist at PCVA and
Board Member. He was Willamette Week Art Critic 1974-1983. He has
received grants for his artwork from the Oregon Community Foundation,
Regional Arts and Culture Council and National Endowment for the Arts.
Currently, Paul is Co-Chair and Director of Art Programs, Department of
Art &amp; Interior Design at Marylhurst University.</p>
<p><strong><br>
</strong></p>
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Subject: [Spare Room Press Release] FWD: films and discussions,
	PeaceVoice Program
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from Oregon Peace Institute:


Friday, March 25, 6 p.m. film screening and discussion. *Human Terrain: 
War Becomes Academic*. This film examines some of the questions and 
concerns raised when academics and professionals are involved in 
military operations. When do such 'objective knowledge' seekers become 
tools of the imperial military? This film looks at anthropologists 
engaged in Human Terrain studies in Afghanistan in particular.

Friday, April 8, 6 p.m. Danielle Filecia leads a discussion of the 
connections between the law and peace, law and conflict resolution, law 
and justice. Danielle has a doctorate in law and is a masters candidate 
in the graduate program of Conflict Resolution at PSU.

Friday, May 6, 6 p.m. Paloma Ayala Vela and Patrick Hiller will present 
a talk on the state of nonviolent civil society movements in Mexico, 
where they have done work and which is Paloma's homeland.

We are in North Portland, Oregon at 3315 North Russet St, which is one 
mile west of I-5 and one block north of North Lombard, behind Sterling 
Savings Bank.
We are located just one block north of the #75 bus line which runs on 
Lombard. You get off at US Bank, which is one 
stop after Greeley/Peninsular (Walgreen's). Look for the white house 
with green trim.
*/Children and friends are welcome.
All refreshments are vegetarian (that means no fish as well, 
please), and no alcohol. Thanks!/*

Yours for a nonviolent future,
Tom H. Hastings
Director, PeaceVoice Program,
Oregon Peace Institute
http://www.peacevoice.info/
peace education notification list sign-up:
https://lists.riseup.net/www/info/peacejusticeportland


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from Oregon Peace Institute:<br>
<br>
<div class="moz-text-html" lang="x-western">
<style></style>
<div><br>
</div>
<div>Friday, March 25, 6 p.m. film screening and discussion. <b>Human
Terrain: War Becomes Academic</b>. This film examines some of the
questions and concerns raised when academics and professionals are
involved in military operations. When do such 'objective knowledge'
seekers become tools of the imperial military? This film looks at
anthropologists engaged in Human Terrain studies in Afghanistan in
particular.</div>
<div><br>
</div>
<div>Friday, April 8, 6 p.m. Danielle Filecia leads a discussion of the
connections between the law and peace, law and conflict resolution, law
and justice. Danielle has a doctorate in law and is a masters candidate
in the graduate program of Conflict Resolution at PSU.</div>
<div><br>
</div>
<div>Friday, May 6, 6 p.m. Paloma Ayala Vela and Patrick Hiller will
present a talk on the state of nonviolent civil society movements in
Mexico, where they have done work and which is Paloma's homeland.</div>
<div><br>
</div>
<div><span style="font-family: Georgia,serif; font-size: 13px;"
 class="Apple-style-span"><span style="font-size: 24px;"><span
 style="font-size: 14px;"><span style="font-size: 24px;"><span
 style="font-size: 14px;"><span style="font-size: 14px;"><span
 style="font-size: 14px;">We are in North Portland, Oregon at&nbsp;</span>3315
North Russet St</span></span></span></span></span><span
 style="font-size: 14px;">, which is one mile west of I-5 and one block
north of North Lombard, behind Sterling Savings Bank.&nbsp;<br>
We are located&nbsp;just one block north of&nbsp;the #75 bus line which runs on
Lombard. You get off at US Bank, which is&nbsp;one
stop&nbsp;after&nbsp;Greeley/Peninsular (Walgreen's). Look for the white house
with green trim.<br>
<strong><em>Children and friends are welcome.&nbsp;<br>
All refreshments are vegetarian (that means no fish as well,
please),&nbsp;and no&nbsp;alcohol. Thanks!</em></strong></span></span></div>
<div><br>
</div>
<div>
<div>Yours for a nonviolent future,</div>
<div>Tom H. Hastings</div>
<div>Director, PeaceVoice Program,</div>
<div>Oregon Peace Institute</div>
<div><a href="http://www.peacevoice.info/" target="_blank">http://www.peacevoice.info/</a></div>
<div>peace education notification list sign-up:</div>
<div><a href="https://lists.riseup.net/www/info/peacejusticeportland"
 target="_blank">https://lists.riseup.net/www/info/peacejusticeportland</a></div>
</div>
</div>
<br>
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Subject: [Spare Room Press Release] Geoffrey G. O'Brien and Michael Weaver
	reading, Sunday April 17th
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Spare Room presents

Geoffrey G. O'Brien
=20
Michael Weaver
=20
Sunday=2C April 17
7:30 pm

The Waypost
3120 N. Williams Ave.
503-367-3182
$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com
=20
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D

Upcoming Readings

5/22   Matthew Cooperman=2C Aby Kaupang=2C & Dan Raphael
6/11   Sam Truitt and TBA

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
=20
Geoffrey G. O'Brien is the author of three collections of poetry=2C The Gun=
s and Flags Project=2C Green and Gray=2C and Metropole=2C all from The Univ=
ersity of California. He is an Assistant Professor of English at UC-Berkele=
y and also teaches for the Prison University Project at San Quentin State P=
rison.

Michael Weaver is a writer and student living in Portland. His work has app=
eared in the little magazines We=2C Logodaedelus=2C Green Zero=2C Painted B=
ride Quarterly=2C Boog=2C and elsewhere.

=20
 =20
VAGUE CADENCE

An away of practice the other is
Like a river out of acts the other is
Hapless=2C unheard=2C with marks upon him
Having dallied in tarrying unwisely
Backlit at an undecidable remove
In a house of marks the other is
Useless deciding whether to go
Or wait in best practices like a child
A hapless river filled with sand
For years it flows like unmarked rope
Years of saying as it moves away
Are the undecided water others bring
Like the child of acts the other is
Saying to himself the other is
A hapless river practicing its flow
A house that moves to where one was
With all years off the water goes
The lights are on so the dark is out
Like the useless children others are
A certain building dream within
A part of speech without a name

 -- Geoffrey G. O'Brien

=20
=20

- la orilla
=20
Sang on a bank of some shore=2C
edge of what had just gone under
some wall=2C sang a lolling aria
of one's tongue going under
some wall=2C sang of money's
singsong hipsway walk=2C sang
rial la lo=2C lira la lo=2C liar..
Sang of all but how honey
gets from the hive
to houses on a high hill
=20
-- Michael Weaver
 		 	   		  =

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<DIV>
<DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none=3B TEXT-INDENT: 0px=3B BORDER-COLL=
APSE: separate=3B FONT: medium 'Times New Roman'=3B WHITE-SPACE: normal=3B =
LETTER-SPACING: normal=3B COLOR: rgb(0=2C0=2C0)=3B WORD-SPACING: 0px" class=
=3DecxApple-style-span><SPAN style=3D"FONT-FAMILY: Tahoma=3B FONT-SIZE: 13p=
x" class=3DecxApple-style-span>Spare Room presents<BR><BR><B>Geoffrey G. O'=
Brien</B><BR><STRONG></STRONG>&nbsp=3B<BR><B>Michael Weaver</B><BR><STRONG>=
</STRONG>&nbsp=3B<BR>Sunday=2C April 17<BR>7:30 pm<BR><BR><A href=3D"http:/=
/thewaypost.com/" target=3D_blank><FONT color=3D#0068cf>The Waypost<BR></FO=
NT></A>3120 N. Williams Ave.<BR>503-367-3182<BR>$5.00 suggested donation<BR=
><BR><A class=3Decxmoz-txt-link-abbreviated href=3D"http://www.flim.com/spa=
reroom" target=3D_blank><FONT color=3D#0068cf>www.flim.com/spareroom</FONT>=
</A><BR><A class=3Decxmoz-txt-link-abbreviated href=3D"mailto:spareroom@fli=
m.com"><FONT color=3D#0068cf>spareroom@flim.com</FONT></A><BR>&nbsp=3B<BR>=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
<BR><B></B></SPAN></SPAN></DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none=3B TEXT-INDENT: 0px=3B BORDER-COLL=
APSE: separate=3B FONT: medium 'Times New Roman'=3B WHITE-SPACE: normal=3B =
LETTER-SPACING: normal=3B COLOR: rgb(0=2C0=2C0)=3B WORD-SPACING: 0px" class=
=3DecxApple-style-span><SPAN style=3D"FONT-FAMILY: Tahoma=3B FONT-SIZE: 13p=
x" class=3DecxApple-style-span><B>Upcoming Readings</B><BR><BR>5/22&nbsp=3B=
&nbsp=3B Matthew Cooperman=2C Aby Kaupang=2C &amp=3B Dan Raphael<BR>6/11&nb=
sp=3B&nbsp=3B&nbsp=3BSam Truitt and TBA<BR><BR>=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<BR>&nbsp=3B<BR><STRONG>Geo=
ffrey G. O'Brien</STRONG><SPAN class=3DecxApple-converted-space>&nbsp=3B</S=
PAN>is the author of three collections of poetry=2C<SPAN class=3DecxApple-c=
onverted-space>&nbsp=3B</SPAN><EM>The Guns and Flags Project</EM>=2C<SPAN c=
lass=3DecxApple-converted-space>&nbsp=3B</SPAN><EM>Green and Gray=2C</EM><S=
PAN class=3DecxApple-converted-space>&nbsp=3B</SPAN>and<SPAN class=3DecxApp=
le-converted-space>&nbsp=3B</SPAN><EM>Metropole</EM>=2C all from The Univer=
sity of California. He is an Assistant Professor of English at UC-Berkeley =
and also teaches for the Prison University Project at San Quentin State Pri=
son.<BR><BR><STRONG>Michael Weaver</STRONG><SPAN class=3DecxApple-converted=
-space>&nbsp=3B</SPAN>is a writer and student living in Portland. His work =
has appeared in the little magazines <EM>We=2C Logodaedelus=2C Green Zero=
=2C Painted Bride Quarterly=2C Boog</EM>=2C and elsewhere.</DIV>
<BLOCKQUOTE>
<P style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0px=
=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING-=
TOP: 0px" align=3Dleft>&nbsp=3B</P>
<P style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0px=
=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING-=
TOP: 0px" align=3Dleft>&nbsp=3B</P>&nbsp=3B<BR><STRONG>VAGUE CADENCE<BR></S=
TRONG><BR>An away of practice the other is<BR>Like a river out of acts the =
other is<BR>Hapless=2C unheard=2C with marks upon him<BR>Having dallied in =
tarrying unwisely<BR>Backlit at an undecidable remove<BR>In a house of mark=
s the other is<BR>Useless deciding whether to go<BR>Or wait in best practic=
es like a child<BR>A hapless river filled with sand<BR>For years it flows l=
ike unmarked rope<BR>Years of saying as it moves away<BR>Are the undecided =
water others bring<BR>Like the child of acts the other is<BR>Saying to hims=
elf the other is<BR>A hapless river practicing its flow<BR>A house that mov=
es to where one was<BR>With all years off the water goes<BR>The lights are =
on so the dark is out<BR>Like the useless children others are<BR>A certain =
building dream within<BR>A part of speech without a name<BR><BR>&nbsp=3B-- =
Geoffrey G. O'Brien<BR><BR>&nbsp=3B<BR>&nbsp=3B<BR><I><FONT face=3DTimesNew=
RomanPS-ItalicMT>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px"><STRONG>- la orilla</STRONG></DIV>
<P style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0px=
=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING-=
TOP: 0px" align=3Dleft>&nbsp=3B</P></FONT></I><FONT face=3DTimesNewRomanPS-=
ItalicMT></FONT><FONT face=3DTimesNewRomanPSMT>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">Sang on a bank of some shore=2C</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">edge of what had just gone under</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">some wall=2C sang a lolling aria</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">of one's tongue going under</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">some wall=2C sang of money's</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">singsong hipsway walk=2C sang</DIV></FONT><I><FONT face=3DTimesN=
ewRomanPS-ItalicMT>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">rial la lo=2C lira la lo=2C liar..</DIV></FONT></I><FONT face=3D=
TimesNewRomanPS-ItalicMT></FONT><FONT face=3DTimesNewRomanPSMT>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">Sang of all but how honey</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">gets from the hive</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">to houses on a high hill</DIV>
<P style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0px=
=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING-=
TOP: 0px" align=3Dleft>&nbsp=3B</P>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">-- Michael Weaver</DIV></FONT></SPAN></SPAN></BLOCKQUOTE></DIV><=
BR></DIV> 		 	   		  </body>
</html>=

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Subject: [Spare Room Press Release] Reminder: Geoffrey G. O'Brien and
	Michael Weaver reading, Sunday April 17th
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Spare Room presents

Geoffrey G. O'Brien
=20
Michael Weaver
=20
Sunday=2C April 17
7:30 pm

The Waypost
3120 N. Williams Ave.
503-367-3182
$5.00 suggested donation

www.flim.com/spareroom
spareroom@flim.com
=20
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D

Upcoming Readings

5/22   Matthew Cooperman=2C Aby Kaupang=2C & Dan Raphael
6/12   Sam Truitt and TBA

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
=20
Geoffrey G. O'Brien is the author of three collections of poetry=2C The Gun=
s and Flags Project=2C Green and Gray=2C and Metropole=2C all from The Univ=
ersity of California. He is an Assistant Professor of English at UC-Berkele=
y and also teaches for the Prison University Project at San Quentin State P=
rison.

Michael Weaver is a writer and student living in Portland. His work has app=
eared in the little magazines We=2C Logodaedelus=2C Green Zero=2C Painted B=
ride Quarterly=2C Boog=2C and elsewhere.

=20
 =20
VAGUE CADENCE

An away of practice the other is
Like a river out of acts the other is
Hapless=2C unheard=2C with marks upon him
Having dallied in tarrying unwisely
Backlit at an undecidable remove
In a house of marks the other is
Useless deciding whether to go
Or wait in best practices like a child
A hapless river filled with sand
For years it flows like unmarked rope
Years of saying as it moves away
Are the undecided water others bring
Like the child of acts the other is
Saying to himself the other is
A hapless river practicing its flow
A house that moves to where one was
With all years off the water goes
The lights are on so the dark is out
Like the useless children others are
A certain building dream within
A part of speech without a name

 -- Geoffrey G. O'Brien

=20
=20

- la orilla
=20
Sang on a bank of some shore=2C
edge of what had just gone under
some wall=2C sang a lolling aria
of one's tongue going under
some wall=2C sang of money's
singsong hipsway walk=2C sang
rial la lo=2C lira la lo=2C liar..
Sang of all but how honey
gets from the hive
to houses on a high hill
=20
-- Michael Weaver
 		 	   		  =

--_a9fa5977-6212-4171-b12e-ce532cd4d81f_
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<DIV>
<DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none=3B TEXT-INDENT: 0px=3B BORDER-COLL=
APSE: separate=3B FONT: medium 'Times New Roman'=3B WHITE-SPACE: normal=3B =
LETTER-SPACING: normal=3B COLOR: rgb(0=2C0=2C0)=3B WORD-SPACING: 0px" class=
=3DecxApple-style-span><SPAN style=3D"FONT-FAMILY: Tahoma=3B FONT-SIZE: 13p=
x" class=3DecxApple-style-span>Spare Room presents<BR><BR><B>Geoffrey G. O'=
Brien</B><BR><STRONG></STRONG>&nbsp=3B<BR><B>Michael Weaver</B><BR><STRONG>=
</STRONG>&nbsp=3B<BR>Sunday=2C April 17<BR>7:30 pm<BR><BR><A href=3D"http:/=
/thewaypost.com/" target=3D_blank><FONT color=3D#0068cf>The Waypost<BR></FO=
NT></A>3120 N. Williams Ave.<BR>503-367-3182<BR>$5.00 suggested donation<BR=
><BR><A class=3Decxmoz-txt-link-abbreviated href=3D"http://www.flim.com/spa=
reroom" target=3D_blank><FONT color=3D#0068cf>www.flim.com/spareroom</FONT>=
</A><BR><A class=3Decxmoz-txt-link-abbreviated href=3D"mailto:spareroom@fli=
m.com"><FONT color=3D#0068cf>spareroom@flim.com</FONT></A><BR>&nbsp=3B<BR>=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
<BR><B></B></SPAN></SPAN></DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none=3B TEXT-INDENT: 0px=3B BORDER-COLL=
APSE: separate=3B FONT: medium 'Times New Roman'=3B WHITE-SPACE: normal=3B =
LETTER-SPACING: normal=3B COLOR: rgb(0=2C0=2C0)=3B WORD-SPACING: 0px" class=
=3DecxApple-style-span><SPAN style=3D"FONT-FAMILY: Tahoma=3B FONT-SIZE: 13p=
x" class=3DecxApple-style-span><B>Upcoming Readings</B><BR><BR>5/22&nbsp=3B=
&nbsp=3B Matthew Cooperman=2C Aby Kaupang=2C &amp=3B Dan Raphael<BR>6/12&nb=
sp=3B&nbsp=3B&nbsp=3BSam Truitt and TBA<BR><BR>=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<BR>&nbsp=3B<BR><STRONG>Geo=
ffrey G. O'Brien</STRONG><SPAN class=3DecxApple-converted-space>&nbsp=3B</S=
PAN>is the author of three collections of poetry=2C<SPAN class=3DecxApple-c=
onverted-space>&nbsp=3B</SPAN><EM>The Guns and Flags Project</EM>=2C<SPAN c=
lass=3DecxApple-converted-space>&nbsp=3B</SPAN><EM>Green and Gray=2C</EM><S=
PAN class=3DecxApple-converted-space>&nbsp=3B</SPAN>and<SPAN class=3DecxApp=
le-converted-space>&nbsp=3B</SPAN><EM>Metropole</EM>=2C all from The Univer=
sity of California. He is an Assistant Professor of English at UC-Berkeley =
and also teaches for the Prison University Project at San Quentin State Pri=
son.<BR><BR><STRONG>Michael Weaver</STRONG><SPAN class=3DecxApple-converted=
-space>&nbsp=3B</SPAN>is a writer and student living in Portland. His work =
has appeared in the little magazines <EM>We=2C Logodaedelus=2C Green Zero=
=2C Painted Bride Quarterly=2C Boog</EM>=2C and elsewhere.</DIV>
<BLOCKQUOTE>
<P style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0px=
=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING-=
TOP: 0px" align=3Dleft>&nbsp=3B</P>
<P style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0px=
=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING-=
TOP: 0px" align=3Dleft>&nbsp=3B</P>&nbsp=3B<BR><STRONG>VAGUE CADENCE<BR></S=
TRONG><BR>An away of practice the other is<BR>Like a river out of acts the =
other is<BR>Hapless=2C unheard=2C with marks upon him<BR>Having dallied in =
tarrying unwisely<BR>Backlit at an undecidable remove<BR>In a house of mark=
s the other is<BR>Useless deciding whether to go<BR>Or wait in best practic=
es like a child<BR>A hapless river filled with sand<BR>For years it flows l=
ike unmarked rope<BR>Years of saying as it moves away<BR>Are the undecided =
water others bring<BR>Like the child of acts the other is<BR>Saying to hims=
elf the other is<BR>A hapless river practicing its flow<BR>A house that mov=
es to where one was<BR>With all years off the water goes<BR>The lights are =
on so the dark is out<BR>Like the useless children others are<BR>A certain =
building dream within<BR>A part of speech without a name<BR><BR>&nbsp=3B-- =
Geoffrey G. O'Brien<BR><BR>&nbsp=3B<BR>&nbsp=3B<BR><I><FONT face=3DTimesNew=
RomanPS-ItalicMT>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px"><STRONG>- la orilla</STRONG></DIV>
<P style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0px=
=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING-=
TOP: 0px" align=3Dleft>&nbsp=3B</P></FONT></I><FONT face=3DTimesNewRomanPS-=
ItalicMT></FONT><FONT face=3DTimesNewRomanPSMT>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">Sang on a bank of some shore=2C</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">edge of what had just gone under</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">some wall=2C sang a lolling aria</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">of one's tongue going under</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">some wall=2C sang of money's</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">singsong hipsway walk=2C sang</DIV></FONT><I><FONT face=3DTimesN=
ewRomanPS-ItalicMT>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">rial la lo=2C lira la lo=2C liar..</DIV></FONT></I><FONT face=3D=
TimesNewRomanPS-ItalicMT></FONT><FONT face=3DTimesNewRomanPSMT>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">Sang of all but how honey</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">gets from the hive</DIV>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">to houses on a high hill</DIV>
<P style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0px=
=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING-=
TOP: 0px" align=3Dleft>&nbsp=3B</P>
<DIV style=3D"PADDING-BOTTOM: 0px=3B PADDING-LEFT: 0px=3B PADDING-RIGHT: 0p=
x=3B MARGIN-BOTTOM: 0px=3B MARGIN-LEFT: 0px=3B MARGIN-RIGHT: 0px=3B PADDING=
-TOP: 0px">-- Michael Weaver</DIV></FONT></SPAN></SPAN></BLOCKQUOTE></DIV><=
BR></DIV> 		 	   		  </body>
</html>=

--_a9fa5977-6212-4171-b12e-ce532cd4d81f_--


From passages@rdrop.com Wed Apr 13 11:33:46 2011
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Subject: [Spare Room Press Release] FWD: Lloyd Reynolds exhibit opens
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Lloyd Reynolds: A Life of Forms in Art*

*April 5 through June 12, 2011

Cooley Memorial Art Gallery, Reed College
3203 SE Woodstock Blvd., Portland, Oregon 97202
www.reed.edu/gallery   503-777-7251

Free and open to the public

*Please join us for a public reception Sunday, April 17, 3--7 p.m.


**T*he Cooley Gallery is proud to present the first comprehensive 
exhibition of the work of renowned Oregon calligrapher, visual artist, 
Reed College professor, and humanist Lloyd Reynolds (1902-1978).

The exhibition includes the finest examples of Reynolds' calligraphy, in 
addition to his etchings, wood block prints, drawings, puppets, books, 
graphic design, and hand-made studio implements. The exhibition also 
features rare films and photographs of Reynolds at work.

The exhibition has been organized in celebration of the Reed College 
Centennial (1911-2011) and is curated by Douglas F. Cooley Memorial Art 
Gallery Director Stephanie Snyder '91 and Reed College Special 
Collections Librarian Gay Walker '69. A color exhibition catalog will be 
published by Publication Studio, Portland, and distributed by Reed 
College free of charge to local schools, colleges, and libraries.

Internationally known as a calligrapher, Reynolds taught at Reed College 
for 40 years, from 1929 to 1969. At the core of this important 
historical initiative is a desire to clearly elucidate the artistic 
contribution and working methodologies of one of Oregon's most unique 
artists. Reynolds not only taught at Reed College for four decades, but 
also at the Portland Museum School, Marylhurst University, and in the 
Portland Public Schools. Few regional creative figures have had the 
local and global impact of Lloyd Reynolds. His holistic humanist view 
influenced and inspired generations of calligraphers, teachers, type 
designers, artists, poets and writers including: poets Gary Snyder, 
Philip Whalen, William Stafford, and Carolyn Kizer; screenwriter Ben 
Barzman; and type designers Sumner Stone and Chuck Bigelow.

Lloyd Reynolds was born in 1902 in Bemidji, Minnesota. He came to 
Portland at the age of 12 and graduated from Franklin High School in 
1920. He earned a bachelor's degree from Oregon State University in 
botany and forestry before studying English at the University of 
Oregon. He taught for two years at Roseburg High School while working 
toward a master's degree in English literature from the University of 
Oregon.

Reed College hired Reynolds as an Instructor in 1929 to teach creative 
writing, English, and then art history, and the graphic arts. Reynolds 
learned calligraphy through personal research. His informal calligraphy 
classes in the 1940s resulted in for-credit classes being offered by 
Reed starting in 1949. Calligraphy stretched to include book design, 
typography, and printmaking with woodcuts. Reynolds also worked with the 
Reed College Theatre department, often with his wife Virginia, and 
produced exquisite graphic design work for the college. Reynolds' 
classes were always informative and effective but, more importantly his 
pedagogy included a history of whatever subject was under study. He 
brilliantly placed the object of study in the context of its origin and 
its contemporary relevance.

In 1954, Reynolds was summoned to testify at the House Un-American 
Activities Committee hearings. Reynolds refused to testify. President 
Ballantine and the board of trustees suspended Reynolds from teaching 
summer courses that year. During this time, Reynolds received solid 
support from Reed students, faculty, and alumni and remained an 
extremely influential and beloved professor until his retirement in 
1969. As a professor emeritus, Reynolds continued to teach workshops and 
classes up until the time of his death in 1978.

Awarded a doctorate of humane letters by Reed in 1972 and many other 
honors and certificates, Reynolds received the unusual honor of being 
named Calligrapher Laureate of Oregon by Governor Tom McCall in 1972, 
the first such recognition of a calligrapher by any U.S. state. Reynolds 
was also a recipient of the Governor's Award for the Arts shortly before 
his death in 1978.

In 1970, Reynolds' wife of 45 years, Virginia Bliss Reynolds, died in 
Portland. In 1975 Reynolds married Judith Reynders. Reynolds died in 
October of 1978, leaving his wife Judith, his two sons with Virginia, 
John and Richard, and their families.

*Lloyd Reynolds: A Life of Forms in Art* is generously supported by a 
grant from the Regional Arts and Culture Council, Portland, Oregon.



--------------040100080307080006020300
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>

<meta http-equiv="content-type" content="text/html; charset=ISO-8859-1">
</head>
<body bgcolor="#ffffff" text="#000000">
<span style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3">Lloyd
Reynolds: A Life of Forms in Art<strong><br>
<br>
</strong></font></span></span><span
 style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3">April 5
through June 12, 2011<br>
<br>
</font></span></span><span style="color: rgb(102, 51, 51);"><font
 face="Arial" size="3">Cooley Memorial Art Gallery, Reed College</font></span><br>
<div><span style="color: rgb(102, 51, 51);"><font face="Arial" size="3">
3203 SE Woodstock Blvd., Portland, Oregon 97202<br>
<a class="moz-txt-link-abbreviated" href="http://www.reed.edu/gallery">www.reed.edu/gallery</a>&nbsp;&nbsp; 503-777-7251<br>
</font></span></div>
<p><span style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3"> Free and open
to the public</font></span></span></p>
<span style="font-size: 17px;"><span
 style="font-family: arial,helvetica,sans-serif;"><span
 style="color: rgb(102, 51, 51);"><strong><font size="3"><span
 style="font-size: 16px;">Please join us for a public reception Sunday,
April 17, 3&#8211;7 p.m.<br>
<br>
<br>
</span></font></strong></span></span></span><span
 style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3"><strong>T</strong>he
</font></span></span><span
 style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3">Cooley Gallery
is proud to present</font></span></span><span
 style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3"> the first
comprehensive exhibition of the work of renowned Oregon
calligrapher, visual artist, Reed College professor, and humanist Lloyd
Reynolds (1902-1978). <br>
<br>
The exhibition includes the finest examples of
Reynolds&#8217; calligraphy, in addition to his etchings, wood block prints,
drawings, puppets, books, graphic design, and hand-made studio
implements. The exhibition also features rare films and photographs of
Reynolds at work. &nbsp;</font></span></span> <br>
<span style="color: rgb(102, 51, 51);"></span>
<div>
<p><span style="color: rgb(102, 51, 51);"><font face="Verdana"><font
 size="3"><font face="Arial"></font></font></font></span><span
 style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3">The
exhibition has been organized in celebration of the Reed College
Centennial (1911-2011) and is curated by Douglas F. Cooley Memorial Art
Gallery Director Stephanie Snyder &#8217;91 and Reed College Special
Collections Librarian Gay Walker &#8217;69. A color exhibition catalog will
be published by Publication Studio, Portland, and distributed by Reed
College free of charge to local schools, colleges, and libraries.</font></span></span></p>
<span style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3">Internationally
known
as a calligrapher, Reynolds taught at Reed College for 40 years,
from 1929 to 1969. At the core of this important historical initiative
is a desire to clearly elucidate the artistic contribution and working
methodologies of one of Oregon&#8217;s most unique artists. Reynolds not only
taught at Reed College for four decades, but also at the Portland
Museum School, Marylhurst University, and in the Portland Public
Schools. Few regional creative figures have had the local and global
impact of Lloyd Reynolds. His holistic humanist view influenced and
inspired generations of calligraphers, teachers, type designers,
artists, poets and writers including: poets Gary Snyder, Philip Whalen,
William Stafford, and Carolyn Kizer; screenwriter Ben Barzman; and type
designers Sumner Stone and Chuck Bigelow.&nbsp;</font></span></span><span
 class="Apple-style-span"
 style="color: rgb(51, 51, 51); font-family: arial,helvetica,sans-serif;">&nbsp;</span>
<p> <span style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3">Lloyd
Reynolds was born in 1902 in Bemidji, Minnesota. He came to Portland at
the age of 12 and graduated from Franklin High School in 1920. He
earned a bachelor's degree from Oregon State University in botany and
forestry before studying English at the University of Oregon.&nbsp;He taught
for two years at Roseburg High School while working toward a master's
degree in English literature from the University of Oregon.</font></span></span><span
 class="Apple-style-span"
 style="color: rgb(51, 51, 51); font-family: arial,helvetica,sans-serif;">&nbsp;</span></p>
<p> <span class="Apple-style-span"
 style="color: rgb(51, 51, 51); font-family: arial,helvetica,sans-serif;">Reed
College
hired Reynolds as an Instructor in 1929 to teach creative
writing, English, and then art history, and the graphic arts. Reynolds
learned calligraphy through personal research. His informal calligraphy
classes in the 1940s resulted in for-credit classes being offered by
Reed starting in 1949.&nbsp;Calligraphy stretched to include book design,
typography, and printmaking with woodcuts. Reynolds also worked with
the Reed College Theatre department, often with his wife Virginia, and
produced exquisite graphic design work for the college. Reynolds'
classes were always informative and effective but, more importantly his
pedagogy included a history of whatever subject was under study. He
brilliantly placed the object of study in the context of its origin and
its contemporary relevance.&nbsp;</span></p>
<p> <span style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3">In
1954, Reynolds was summoned to testify at the House Un-American
Activities Committee hearings. Reynolds refused to testify. President
Ballantine and the board of trustees suspended Reynolds from teaching
summer courses that year. During this time, Reynolds received solid
support from Reed students, faculty, and alumni and remained an
extremely influential and beloved professor until his retirement in
1969. As a professor emeritus, Reynolds continued to teach workshops
and classes up until the time of his death in 1978.&nbsp;&nbsp;</font></span></span></p>
<p> <span style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3">Awarded
a doctorate of humane letters by Reed in 1972 and many other honors and
certificates, Reynolds received the unusual honor of being named
Calligrapher Laureate of Oregon by Governor Tom McCall in 1972, the
first such recognition of a calligrapher by any U.S. state. Reynolds
was also a recipient of the Governor's Award for the Arts shortly
before his death in 1978.&nbsp;&nbsp;</font></span></span></p>
<p> <span class="Apple-style-span"
 style="color: rgb(51, 51, 51); font-family: arial,helvetica,sans-serif;">In
1970,
Reynolds&#8217; wife of 45 years, Virginia Bliss Reynolds, died in
Portland. In 1975 Reynolds married Judith Reynders. Reynolds died in
October of 1978, leaving his wife Judith, his two sons with Virginia,
John and Richard, and their families.</span></p>
<p> <span style="font-family: arial,helvetica,sans-serif;"><span
 style="font-size: 16px;"><font color="#333333" size="3"><strong><span
 style="color: rgb(102, 51, 51);">Lloyd Reynolds: A Life of Forms in Ar</span>t</strong>
is generously supported by a grant from the Regional Arts and Culture
Council, Portland, Oregon. </font></span></span><br>
</p>
</div>
<div><br>
<span style="color: rgb(102, 51, 51);"></span></div>
</body>
</html>

--------------040100080307080006020300--

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	Write Like a Bird: MAC spring excursion #1
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There are still places available in the first of this spring's writing 
excursions -- *Write Like a Bird, with Jesse Morse* -- sponsored by the 
Literary Arts program at Multnomah Arts Center.

For more information, or to register, call 503-823-2787, or go to 
http://tinyurl.com/pdxparksonline (where you can access all Portland 
Parks programs).


*Write Like a Bird*
W.G. Sebald compared his writing process to the way "a dog runs through 
a field"'; Thoreau encouraged us to write like a fox. Is it possible to 
move on the page the way a Great Blue Heron soars through the air? On a 
walk through Oaks Bottom, a birdwatcher's paradise, we'll explore how 
our animal friends might help us write. We'll read examples, and explore 
writing exercises that encourage us to inhabit a space outside our own. 
We'll look for critters, bird watch, and simply walk, leaving time for 
discussion and feedback.
*Saturday, April 23*
10:00 am -- 2:00 pm
Jesse Morse
*Course #: 345845*


*Writing Places: Creative Excursions in and around Portland
*
This spring, take your pen and notebook out for a stroll, and enliven 
your writing with a breath of fresh air! With local writers and artists 
as your guides, explore a wildlife refuge, an industrial park, the zoo, 
the gallery district --- taking inspiration and provocation from trails, 
views, creatures, and pictures; from everyday scenes and hidden 
histories. Each one-day excursion is a self-contained writing 
experience; register for one, or two --- or for all four! The excursions 
are open to all; both beginning and experienced writers are welcome.

/Write Like a Bird/ (April 23) -- Jesse Morse
/Why Write about Animals?/ (May 7) -- David Abel
/In Response: Poems on Art/ (May 28) -- Lisa Radon
/A Day at Swan Island/ (June 4) -- Nate Orton and James Yeary
/ /

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</head>
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There are still places available in the first of this spring's writing
excursions -- <b>Write Like a Bird, with Jesse Morse</b> -- sponsored
by the Literary Arts program at Multnomah Arts Center. <br>
<br>
For more information, or to register, call 503-823-2787, or go to
<a class="moz-txt-link-freetext" href="http://tinyurl.com/pdxparksonline">http://tinyurl.com/pdxparksonline</a> (where you can access all Portland
Parks programs).<br>
<br>
<br>
<b>Write Like a Bird</b><br>
W.G. Sebald compared his writing process to the way &#8220;a dog runs through
a field&#8221;'; Thoreau encouraged us to write like a fox. Is it possible to
move on the page the way a Great Blue Heron soars through the air? On a
walk through Oaks Bottom, a birdwatcher&#8217;s paradise, we&#8217;ll explore how
our animal friends might help us write. We&#8217;ll read examples, and
explore writing exercises that encourage us to inhabit a space outside
our own. We&#8217;ll look for critters, bird watch, and simply walk, leaving
time for discussion and feedback. <br>
<b>Saturday, April 23</b><br>
10:00 am &#8211; 2:00 pm<br>
Jesse Morse<br>
<b>Course #: 345845</b><br>
<br>
<br>
<b>Writing Places: Creative Excursions in and around Portland<br>
</b><br>
This spring, take your pen and notebook out for a stroll, and enliven
your writing with a breath of fresh air! With local writers and artists
as your guides, explore a wildlife refuge, an industrial park, the zoo,
the gallery district &#8212; taking inspiration and provocation from trails,
views, creatures, and pictures; from everyday scenes and hidden
histories. Each one-day excursion is a self-contained writing
experience; register for one, or two &#8212; or for all four! The excursions
are open to all; both beginning and experienced writers
are welcome. <br>
<br>
&nbsp;&nbsp;&nbsp; <i>Write Like a Bird</i> (April 23) -- Jesse Morse<br>
&nbsp;&nbsp;&nbsp; <i>Why Write about Animals?</i> (May 7) -- David Abel<br>
&nbsp;&nbsp;&nbsp; <i>In Response: Poems on Art</i> (May 28) -- Lisa Radon<br>
&nbsp;&nbsp;&nbsp; <i>A Day at Swan Island</i> (June 4) -- Nate Orton and James Yeary<br>
<i>
&nbsp; </i><br>
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From passages@rdrop.com Fri Apr 15 11:26:55 2011
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Subject: [Spare Room Press Release] FWD: 4/29-30, Stein Alembic at PWNW
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Alembic 13:*
Now Repeat in Steinese
*
curated by Drew Pisarra

Sat/Sun April 29-30
8:00 pm

Performance Works NW
4625 SE 67th Ave.
performanceworksnw.org

Advance tix: https://www.chooseculture.org/event?id=138445 
<http://c.ss7.chennells.com/sendlink.asp?HitID=1302854783971&StID=21945&SID=0&NID=656552&EmID=71381904&Link=aHR0cHM6Ly93d3cuY2hvb3NlY3VsdHVyZS5vcmcvZXZlbnQ%2FaWQ9MTM4NDQ1&token=ed866b747f2921dbdd9beaa91f9735e3aaf0532c>

*Drew Pisarra,* curator
*Katherine Petersen,* co-host
*The SteinWays, musical* collective
*Kyle Delamarter *and *Starr Ahrens*, theater artists
*TouchMonkey*: Carolyn Stuart and Patrick Gracewood, dancers
*Austin Newsom*, filmmaker

Drawing upon Gertrude Stein's reputation for repetition, *Now Repeat in 
Steinese *is four back-to-back stagings of her early enigmatic one-act 
"White Wines" paired with four different white wines. Fruity? Dry? 
Acidic? Sweet? Now Repeat in Steinese will be all this and more. By 
highlighting the role of the director, Now Repeat in Steinese uses one 
of Stein's most unstageable works -- no plot, no characters, no setting 
-- to reveal the myriad ways such material can in fact be interpreted. 
Under performance artist Drew Pisarra's guidance, this concept was 
originally staged in NYC. Now, four West Coast theater 
artists/choreographers/filmmakers interpret the play anew, thereby 
revealing a completely new set of artistic sensibilities.

*What better way to celebrate Alice B. Toklas's birthday?*
**

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Alembic 13:<b><br>
Now Repeat in Steinese<br>
</b><br>
curated by Drew Pisarra<br>
<br>
<div>Sat/Sun April 29-30<br>
8:00 pm</div>
<div><br>
Performance Works NW<br>
</div>
<div>4625 SE 67th Ave.<br>
performanceworksnw.org<br>
<br>
</div>
<div>Advance tix: <a
 href="http://c.ss7.chennells.com/sendlink.asp?HitID=1302854783971&amp;StID=21945&amp;SID=0&amp;NID=656552&amp;EmID=71381904&amp;Link=aHR0cHM6Ly93d3cuY2hvb3NlY3VsdHVyZS5vcmcvZXZlbnQ%2FaWQ9MTM4NDQ1&amp;token=ed866b747f2921dbdd9beaa91f9735e3aaf0532c">https://www.chooseculture.org/event?id=138445</a></div>
<br>
<strong>Drew Pisarra,</strong> curator<br>
<strong>Katherine Petersen,</strong> co-host<br>
<strong>The SteinWays, musical</strong> collective<br>
<strong>Kyle Delamarter </strong>and <strong>Starr Ahrens</strong>,
theater artists<br>
<strong>TouchMonkey</strong>: Carolyn Stuart and Patrick Gracewood,
dancers<br>
<div><strong>Austin Newsom</strong>, filmmaker</div>
<br>
Drawing upon Gertrude Stein's reputation for repetition, <strong>Now
Repeat in Steinese </strong>is four back-to-back stagings of her early
enigmatic one-act "White Wines" paired with four different white wines.
Fruity? Dry? Acidic? Sweet? Now Repeat in Steinese will be all this and
more. By highlighting the role of the director, Now Repeat in Steinese
uses one of Stein's most unstageable works -- no plot, no characters,
no setting -- to reveal the myriad ways such material can in fact be
interpreted. Under performance artist Drew Pisarra's guidance, this
concept was originally staged in NYC. Now, four West Coast theater
artists/choreographers/filmmakers interpret the play anew, thereby
revealing a completely new set of artistic sensibilities.<br>
<br>
<div><strong>What better way to celebrate Alice B. Toklas's birthday?</strong></div>
<div>&nbsp;</div>
<strong></strong><br>
</body>
</html>

--------------070309050105060202000108--

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** *  PLEASE FORWARD AND/OR POST  * **

There are still places available in upcoming writing excursions 
sponsored by the Literary Arts program at Multnomah Arts Center. (For a 
complete list of spring and summer excursions, see the end of this message.)

*Next up: a gallery crawl in the Pearl District, and a psychogeographic 
exploration of Swan Island.*

For more information, or to register, call 503-823-2787, or go to 
http://tinyurl.com/pdxparksonline (where you can access all Portland 
Parks programs).

*In Response: Poems on Art*
Spend an afternoon visiting galleries in Portland's Pearl District, 
making poems in response to and in conversation with works of 
contemporary art. Poet, artist, and arts writer Lisa Radon will guide 
you beyond straightforward description, to take a more expansive view of 
what a poetic response to a work of art might be --- stoking the fire 
with related readings, writing experiments and prompts, and a tuning in 
to your own five senses.
*Location: Pearl District*
Saturday, May 28   12:00 pm -- 4:00 pm
Lisa Radon
*Course #345847*

*A Day at Swan Island*
What makes Portland Portland? For an unconventional answer, explore Swan 
Island, an industrial site, active port, former island, and threatened 
ecosystem, with visual artist Nate Orton and writer James Yeary. James 
and Nate will demonstrate the methods used in their ongoing My Day zine 
series, which for seven years has examined sites that define or 
undermine Portland's image. Throughout the walk, the class will 
undertake the artful documentation of the surroundings, generating the 
material for a collaborative My Day project.
*Location: Swan Island*
Saturday, June 4   11:00 am -- 4:00 pm
Nate Orton and James Yeary
*Course # 345848


**Writing Places: Creative Excursions in and around Portland*

/In Response: Poems on Art/ (May 28) -- Lisa Radon
/A Day at Swan Island/ (June 4) -- Nate Orton and James Yeary
/Poems on a Train/ (June 25) -- Joel Bettridge
/Write Like a Bird/ (July 9) -- Jesse Morse
/Fire + Water = Park/ (July 23) -- Jesse Morse and Allison Cobb
/A Day at the Library/ (July 30) -- Nate Orton and James Yeary
/In Response: Poems on Art/ (August 6) -- Lisa Radon
/Borrowed Scenery: The Japanese Garden/ (August 27) -- David Abel


--------------090207080901080904090004
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<body bgcolor="#ffffff" text="#000000">
<b>* *&nbsp; PLEASE FORWARD AND/OR POST&nbsp; * *</b><br>
<br>
There are still places available in upcoming writing excursions
sponsored by the Literary Arts program at Multnomah Arts Center. (For a
complete list of spring and summer excursions, see the end of this
message.)<br>
<br>
<b>Next up: a gallery crawl in the Pearl District, and a
psychogeographic exploration of Swan Island.</b><br>
<br>
For more information, or to register, call 503-823-2787, or go to
<a class="moz-txt-link-freetext" href="http://tinyurl.com/pdxparksonline">http://tinyurl.com/pdxparksonline</a> (where you can access all Portland
Parks programs).<br>
<br>
<b>In Response: Poems on Art</b><br>
Spend an afternoon visiting galleries in Portland's Pearl District,
making poems in response to and in conversation with works of
contemporary art. Poet, artist, and arts writer Lisa Radon will guide
you beyond straightforward description, to take a more expansive view
of what a poetic response to a work of art might be &#8212; stoking the fire
with related readings, writing experiments and prompts, and a tuning in
to your own five senses. <br>
<b>Location: Pearl District</b><br>
Saturday, May 28&nbsp;&nbsp; 12:00 pm &#8211; 4:00 pm<br>
Lisa Radon<br>
<b>Course #345847</b><br>
<br>
<b>A Day at Swan Island</b><br>
What makes Portland Portland? For an unconventional answer, explore
Swan Island, an industrial site, active port, former island, and
threatened ecosystem, with visual artist Nate Orton and writer James
Yeary. James and Nate will demonstrate the methods used in their
ongoing My Day zine series, which for seven years has examined sites
that define or undermine Portland&#8217;s image. Throughout the walk, the
class will undertake the artful documentation of the surroundings,
generating the material for a collaborative My Day project.<br>
<b>Location: Swan Island</b><br>
Saturday, June 4&nbsp;&nbsp; 11:00 am &#8211; 4:00 pm<br>
Nate Orton and James Yeary<br>
<b>Course # 345848<br>
<br>
<br>
</b><b>Writing Places: Creative Excursions in and around Portland</b><br>
<br>
&nbsp;&nbsp;&nbsp; <i>In Response: Poems on Art</i> (May 28) -- Lisa Radon<br>
&nbsp;&nbsp;&nbsp; <i>A Day at Swan Island</i> (June 4) -- Nate Orton and James Yeary<br>
&nbsp;&nbsp;&nbsp; <i>Poems on a Train</i> (June 25) -- Joel Bettridge<br>
&nbsp;&nbsp;&nbsp; <i>Write Like a Bird</i> (July 9) -- Jesse Morse<br>
&nbsp;&nbsp;&nbsp; <i>Fire + Water = Park</i> (July 23) -- Jesse Morse and Allison
Cobb<br>
&nbsp;&nbsp;&nbsp; <i>A Day at the Library</i> (July 30) -- Nate Orton and James Yeary<br>
&nbsp;&nbsp;&nbsp; <i>In Response: Poems on Art</i> (August 6) -- Lisa Radon<br>
&nbsp;&nbsp;&nbsp; <i>Borrowed Scenery: The Japanese Garden</i> (August 27) -- David
Abel<br>
<br>
</body>
</html>

--------------090207080901080904090004--

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Subject: [Spare Room Press Release] Matthew Cooperman, Aby Kaupang,
	and Dan Raphael reading, Sunday May 22
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------=_Part_289541_860002765.1305062792000
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Spare Room presents=20

=C2=A0=20
Matthew Cooperman=20
=C2=A0=20
Aby Kaupang =C2=A0=20

Dan Raphael=20
=C2=A0=20
Sunday, May 22=20
7:30 pm=20

The Waypost=20
3120 N. Williams Ave.=20
503-367-3182=20
$5.00 suggested donation=20

www.flim.com/spareroom=20
spareroom@flim.com=20
=C2=A0=20
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=20

=C2=A0=20
Upcoming Readings=20

6/11=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 =C2=A0=C2=A0 Sam Truit=
t and Sam Lohmann=20


Date TBA=C2=A0 Chris Piuma and Jennifer Bartlett=20

7/10=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Anne=
 Shaw and Rodney Koeneke=20

8/24=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Ally=
 Harris and Karla Kelsey=20

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=20
=C2=A0=20
Matthew Cooperman's new book Still: of the Earth as the Ark which Does Not =
Move=C2=A0 will be released this month from Counterpath Press. He also auth=
ored DaZE (Salt Publishing Ltd, 2006), A Sacrificial Zinc (Pleiades/LSU, 20=
01), and three chapbooks, Still: (to be) Perpetual (dove | tail, 2007), Wor=
ds About James (phylum press, 2005) and Surge (Kent State University Press,=
 1999). A founding editor of Quarter After Eight , and poetry editor of Col=
orado Review , he teaches at Colorado State University in Fort Collins, whe=
re he lives with Aby Kaupang and their two children. More at www.matthewcoo=
perman.com www.matthewcooperman.com=20
=C2=A0=20
Aby Kaupang is the author of=C2=A0 Absence is such a Transparent House =C2=
=A0which just=C2=A0came out=C2=A0from=C2=A0Tebot Bach this spring, and Scen=
ic Fences | Houses Innumerable ( Scantily Clad Press, 2009).=C2=A0=C2=A0Her=
 poems have appeared in=C2=A0 VOLT ,=C2=A0 Verse , Denver Quarterly ,=C2=A0=
 The Laurel Review, Parthenon West, Aufgabe, 14 Hills, Interim, Caketrain, =
lo-ball=C2=A0 and others .=C2=A0 She=C2=A0lives in Fort Collins, Colorado, =
and is currently=C2=A0pursuing her MS in Occupational Therapy.=C2=A0 More o=
n her work is at www.abykaupang.com/=20
=C2=A0=20

Dan Raphael is a Portland poet whose=C2=A0new book=C2=A0 Impulse & Warp:=C2=
=A0 The Selected 20th Century Poems , came out in=C2=A0September 2010. Impu=
lse & Warp includes poems from his first 13 collections. In addition, Child=
ren of the Blue Supermarket, a CD of live performance with saxophonist Rich=
 Halley and drummer Carson Halley, came out in February of this year. Curre=
nt poems=C2=A0appear in Rattapallax, Otoliths, Calibanonline, Heavy Bear an=
d Skidrow Penthouse. =C2=A0 =C2=A0=20
=C2=A0 =C2=A0=20

=C2=A0=20



=C2=A0=20

=C2=A0=20

Still: Reality=20

=C2=A0=20

=C2=A0=20

Consider: set in stone, written in blood, burned into memory=20

=C2=A0=20

Consider: movement exactly, across pages and their waves, slight reverberat=
ions=20

=C2=A0 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 in the =
malleus and incus, innumerable forms mean and functioning=20

=C2=A0=20

Consider: sampling as the additive portion of memory, a space forced open=
=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 between =
vocal and instrumental culture=20

=C2=A0=20

Consider: the fiction of memory, the faction of memoir, risible views and s=
hades on=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 the face=
s of flyers, genre, what the fuck, this really happened=20

=C2=A0=20

Consider: the flyers in the face of the screen, some distant island they ar=
e flying to=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 and from=
, his anger and her lust, his dark secret and her nightingale=20

=C2=A0=20

Consider: a consumable product like a very big pill, you have been dreaming=
 a dj=20

=C2=A0=20

Consider: by necessity, by proclivity and by delight, consider by divining,=
 by chelation=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 and by d=
espair=20

=C2=A0=20

Consider: signals, like hoisting a flag, something in the forearms (lactic =
Eygptian),=20

=C2=A0 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 and the smell=
 of sea (her just washed hair)=20

=C2=A0=20

Consider: a colony, what is a colony, what is a child, what is a crime, a m=
uddied diaper,=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 a soiled=
 well, a proffered pen, a routed man=20

=C2=A0=20

Consider: his asceticism, which is alternating, which seems also to govern =
his view=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 of the d=
eclining narrative=20

=C2=A0=20

Consider: something still for someone to somehow link them together, you ha=
ve=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 been wai=
ting, it doesn=E2=80=99t speak on your behalf, you have been troubled, ther=
e=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=
=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 is no reduc=
ible bullet=20

=C2=A0=20

Consider: the whole broad omnevolent thing, the essay and the furrier, lice=
ntious=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 hundred =
flowering into crease and view=20

=C2=A0=20

Consider: a clarion is a brief horn of chance, Smith was a martyr and Jones=
 a tin horn,=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 it doesn=
=E2=80=99t speak, you have been troubled, this doesn=E2=80=99t make up =E2=
=80=98a reality=E2=80=99=20

=C2=A0=20

=C2=A0=20

=C2=A0--Matthew Cooperman=20

=C2=A0=20

=C2=A0=20

=C2=A0=20

the wraithlike invitation into Nothingness=20

=C2=A0=20

creeps in on me=C2=A0=C2=A0=C2=A0=C2=A0 fingers=20

slow fingering me=20

=C2=A0=20

someone exactly placed it=20

on my bruised palm=E2=80=99s doormat=20

=C2=A0=20

I called it rhapsodic=20

improvisational=20

=C2=A0=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 since th=
en=C2=A0=C2=A0=C2=A0=C2=A0=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 I=E2=80=
=99m anxious always=20

=C2=A0=20

always the fatigue=C2=A0=C2=A0=C2=A0=C2=A0 that snatch of rapture=20

the one I=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 as part of all fleshes=20

suffer=C2=A0=C2=A0=C2=A0=C2=A0 it=E2=80=99s accompanied=20

=C2=A0=20

I accompany it everywhere=20

=C2=A0=20

two voices call me=20

nescio=E2=80=A6..et excrucior=20

=C2=A0=20

=C2=A0=20

=C2=A0--Aby Kaupang=20

=C2=A0=20

=C2=A0=20

(from Fresh Down the Mountain)=20

4)=20

cities are where dead things come=E2=80=94salmon, beaver, timber, business,=
 politics.=20

we cant all be pyramids. we live higher up with nothing to mow or feed.=20

where their bus died they settled on 10 acres. you dont choose a house=20

you reach into the bag of now, markets are the constructs of abstract money=
,=20

as if a third of my body doesn=E2=80=99t have bones only momentum and belie=
f=20

the investment of habit ,=20

=C2=A0=C2=A0=C2=A0 I didn=E2=80=99t think the door would close that easily=
=20

when I fell asleep I had no idea the room would move.=20

=C2=A0=20

its perfect here, milky way at night, with one microscopic cacophony of neo=
n=20

halfway eclipsed by the petrified wind, so I know its still now in america=
=20

--Dan Raphael=20

=C2=A0=20

Dan Raphael is a Portland poet whose=C2=A0new book=C2=A0 Impulse & Warp:=C2=
=A0 The Selected 20th Century Poems , came out in=C2=A0September 2010. Impu=
lse & Warp includes poems from his first 13 collections. In addition, Child=
ren of the Blue Supermarket, a CD of live performance with saxophonist Rich=
 Halley and drummer Carson Halley, came out in February of this year. Curre=
nt poems=C2=A0appear in Rattapallax, Otoliths, Calibanonline, Heavy Bear an=
d Skidrow Penthouse. =C2=A0 =C2=A0=20
=C2=A0 =C2=A0=20

=C2=A0=20



=C2=A0=20

=C2=A0=20

Still: Reality=20

=C2=A0=20

=C2=A0=20

Consider: set in stone, written in blood, burned into memory=20

=C2=A0=20

Consider: movement exactly, across pages and their waves, slight reverberat=
ions=20

=C2=A0 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 in the =
malleus and incus, innumerable forms mean and functioning=20

=C2=A0=20

Consider: sampling as the additive portion of memory, a space forced open=
=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 between =
vocal and instrumental culture=20

=C2=A0=20

Consider: the fiction of memory, the faction of memoir, risible views and s=
hades on=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 the face=
s of flyers, genre, what the fuck, this really happened=20

=C2=A0=20

Consider: the flyers in the face of the screen, some distant island they ar=
e flying to=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 and from=
, his anger and her lust, his dark secret and her nightingale=20

=C2=A0=20

Consider: a consumable product like a very big pill, you have been dreaming=
 a dj=20

=C2=A0=20

Consider: by necessity, by proclivity and by delight, consider by divining,=
 by chelation=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 and by d=
espair=20

=C2=A0=20

Consider: signals, like hoisting a flag, something in the forearms (lactic =
Eygptian),=20

=C2=A0 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 and the smell=
 of sea (her just washed hair)=20

=C2=A0=20

Consider: a colony, what is a colony, what is a child, what is a crime, a m=
uddied diaper,=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 a soiled=
 well, a proffered pen, a routed man=20

=C2=A0=20

Consider: his asceticism, which is alternating, which seems also to govern =
his view=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 of the d=
eclining narrative=20

=C2=A0=20

Consider: something still for someone to somehow link them together, you ha=
ve=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 been wai=
ting, it doesn=E2=80=99t speak on your behalf, you have been troubled, ther=
e=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=
=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 is no reduc=
ible bullet=20

=C2=A0=20

Consider: the whole broad omnevolent thing, the essay and the furrier, lice=
ntious=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 hundred =
flowering into crease and view=20

=C2=A0=20

Consider: a clarion is a brief horn of chance, Smith was a martyr and Jones=
 a tin horn,=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 it doesn=
=E2=80=99t speak, you have been troubled, this doesn=E2=80=99t make up =E2=
=80=98a reality=E2=80=99=20

=C2=A0=20

=C2=A0=20

=C2=A0--Matthew Cooperman=20

=C2=A0=20

=C2=A0=20

=C2=A0=20

the wraithlike invitation into Nothingness=20

=C2=A0=20

creeps in on me=C2=A0=C2=A0=C2=A0=C2=A0 fingers=20

slow fingering me=20

=C2=A0=20

someone exactly placed it=20

on my bruised palm=E2=80=99s doormat=20

=C2=A0=20

I called it rhapsodic=20

improvisational=20

=C2=A0=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 since th=
en=C2=A0=C2=A0=C2=A0=C2=A0=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 I=E2=80=
=99m anxious always=20

=C2=A0=20

always the fatigue=C2=A0=C2=A0=C2=A0=C2=A0 that snatch of rapture=20

the one I=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 as part of all fleshes=20

suffer=C2=A0=C2=A0=C2=A0=C2=A0 it=E2=80=99s accompanied=20

=C2=A0=20

I accompany it everywhere=20

=C2=A0=20

two voices call me=20

nescio=E2=80=A6..et excrucior=20

=C2=A0=20

=C2=A0=20

=C2=A0--Aby Kaupang=20

=C2=A0=20

=C2=A0=20

(from Fresh Down the Mountain)=20

4)=20

cities are where dead things come=E2=80=94salmon, beaver, timber, business,=
 politics.=20

we cant all be pyramids. we live higher up with nothing to mow or feed.=20

where their bus died they settled on 10 acres. you dont choose a house=20

you reach into the bag of now, markets are the constructs of abstract money=
,=20

as if a third of my body doesn=E2=80=99t have bones only momentum and belie=
f=20

the investment of habit ,=20

=C2=A0=C2=A0=C2=A0 I didn=E2=80=99t think the door would close that easily=
=20

when I fell asleep I had no idea the room would move.=20

=C2=A0=20

its perfect here, milky way at night, with one microscopic cacophony of neo=
n=20

halfway eclipsed by the petrified wind, so I know its still now in america=
=20

--Dan Raphael=20

=C2=A0=20

=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0
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<html><head><style type=3D'text/css'>p { margin: 0; }</style></head><body><=
div style=3D'font-family: Times New Roman; font-size: 12pt; color: #000000'=
><DIV style=3D"FONT-FAMILY: Times New Roman; COLOR: #000000; FONT-SIZE: 12p=
t">
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<DIV style=3D"FONT-FAMILY: Times New Roman; COLOR: #000000; FONT-SIZE: 12pt=
">
<DIV style=3D"FONT-FAMILY: Times New Roman; COLOR: #000000; FONT-SIZE: 12pt=
"><B style=3D"mso-bidi-font-weight: normal"><SPAN style=3D"FONT-FAMILY: 'Ga=
ramond','serif'">
<DIV>
<DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><FONT face=3D"arial, helvetica, sans-serif"><FONT size=3D2>Spare=
 Room presents<BR></DIV></FONT></FONT></SPAN></SPAN>
<DIV>&nbsp;</DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><STRONG><FONT size=3D2 face=3D"arial, helvetica, sans-serif">Mat=
thew Cooperman</FONT></STRONG></SPAN></SPAN></DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><STRONG><FONT size=3D2 face=3D"arial, helvetica, sans-serif"></F=
ONT></STRONG></SPAN></SPAN>&nbsp;</DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><FONT face=3D"arial, helvetica, sans-serif"><FONT size=3D2><STRO=
NG>Aby Kaupang</STRONG>&nbsp;</FONT></FONT></SPAN></SPAN></DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><FONT face=3D"arial, helvetica, sans-serif"><FONT size=3D2><BR><=
/FONT></FONT></SPAN></SPAN><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT=
: 0px; BORDER-COLLAPSE: separate; FONT: medium 'Times New Roman'; WHITE-SPA=
CE: normal; LETTER-SPACING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" c=
lass=3DecxApple-style-span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 1=
3px" class=3DecxApple-style-span><FONT face=3D"arial, helvetica, sans-serif=
"><FONT size=3D2><STRONG>Dan Raphael</STRONG></FONT></FONT></SPAN></SPAN></=
DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><FONT face=3D"arial, helvetica, sans-serif"><FONT size=3D2>&nbsp=
;<BR>Sunday, May 22</FONT></FONT></SPAN></SPAN></DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><FONT size=3D2 face=3D"arial, helvetica, sans-serif">7:30 pm<BR>=
<BR></FONT><A href=3D"http://thewaypost.com/" target=3D_blank><FONT color=
=3D#0068cf size=3D2 face=3D"arial, helvetica, sans-serif">The Waypost<BR></=
FONT></A><FONT size=3D2 face=3D"arial, helvetica, sans-serif">3120 N. Willi=
ams Ave.<BR>503-367-3182<BR>$5.00 suggested donation<BR><BR></FONT><A class=
=3Decxmoz-txt-link-abbreviated href=3D"http://www.flim.com/spareroom" targe=
t=3D_blank><FONT color=3D#0068cf size=3D2 face=3D"arial, helvetica, sans-se=
rif">www.flim.com/spareroom</FONT></A><BR><A class=3Decxmoz-txt-link-abbrev=
iated href=3D"mailto:spareroom@flim.com" target=3D_blank><FONT color=3D#006=
8cf size=3D2 face=3D"arial, helvetica, sans-serif">spareroom@flim.com</FONT=
></A><BR><FONT size=3D2 face=3D"arial, helvetica, sans-serif">&nbsp;<BR>=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<BR=
></FONT></DIV><B></B></SPAN></SPAN>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><FONT face=3D"arial, helvetica, sans-serif"><FONT size=3D2><B></=
B></FONT></FONT></SPAN></SPAN>&nbsp;</DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><FONT face=3D"arial, helvetica, sans-serif"><FONT size=3D2><B>Up=
coming Readings</B><BR><BR>6/11&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n=
bsp; &nbsp;&nbsp; Sam Truitt and Sam Lohmann</FONT></FONT></SPAN></SPAN></D=
IV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><FONT face=3D"arial, helvetica, sans-serif"><FONT size=3D2>
<P>Date TBA&nbsp; Chris Piuma and Jennifer Bartlett</P>
<P>7/10&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A=
nne Shaw and Rodney Koeneke</P>
<P>8/24&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A=
lly Harris and Karla Kelsey</P><BR><BR>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D</FONT></FONT></SPAN></SPAN></DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><FONT size=3D2 face=3DArial></FONT></SPAN></SPAN>&nbsp;</DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><SPAN><STRONG>Matthew Cooperman's</STRONG> new book <EM>Still: o=
f the Earth as the Ark which Does Not Move&nbsp;</EM>will be released this =
month from Counterpath Press. He also authored <I style=3D"mso-bidi-font-st=
yle: normal">DaZE</I> (Salt Publishing Ltd, 2006), <I style=3D"mso-bidi-fon=
t-style: normal">A Sacrificial Zinc</I> (Pleiades/LSU, 2001), and three cha=
pbooks, <I style=3D"mso-bidi-font-style: normal">Still: (to be) Perpetual</=
I> (dove | tail, 2007), <I style=3D"mso-bidi-font-style: normal">Words Abou=
t James</I> (phylum press, 2005) and <I style=3D"mso-bidi-font-style: norma=
l">Surge</I> (Kent State University Press, 1999). A founding editor of <I s=
tyle=3D"mso-bidi-font-style: normal">Quarter After Eight</I>, and poetry ed=
itor of <I style=3D"mso-bidi-font-style: normal">Colorado Review</I>, he te=
aches at Colorado State University in Fort Collins, where he lives with Aby=
 Kaupang and their two children. More at <SPAN class=3Dobject3><SPAN style=
=3D"FONT-FAMILY: 'Arial','sans-serif'"><A href=3D"http://www.matthewcooperm=
an.com/" target=3D_blank><SPAN style=3D"mso-bidi-font-family: Arial"><FONT =
color=3D#00008b face=3D"Times New Roman"><A href=3D"http://www.matthewcoope=
rman.com/" target=3D_blank>www.matthewcooperman.com</FONT></SPAN></A></SPAN=
></SPAN></SPAN></A></SPAN></SPAN></DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a=
; FONT-SIZE: 10pt"></SPAN></SPAN></SPAN>&nbsp;</DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><SPAN><STRONG>Aby Kaupang </STRONG>is the author of&nbsp;</SPAN>=
<SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE: =
10pt; mso-fareast-font-family: 'Arial Unicode MS'"><I>Absence is such a Tra=
nsparent House</I>&nbsp;which just&nbsp;came out&nbsp;from&nbsp;Tebot Bach =
this spring, and <I>Scenic Fences | Houses Innumerable (</I>Scantily Clad P=
ress, 2009).&nbsp;&nbsp;Her poems have appeared in&nbsp;<I>VOLT</I>,&nbsp;<=
I>Verse</I>, <I>Denver Quarterly</I>,&nbsp;<I>The Laurel Review, Parthenon =
West, Aufgabe, 14 Hills, Interim, Caketrain, lo-ball&nbsp;</I>and others<I>=
.&nbsp;</I>She&nbsp;lives in Fort Collins, Colorado, and is currently&nbsp;=
pursuing her MS in Occupational Therapy.&nbsp; More on her work is at <A hr=
ef=3D"http://www.abykaupang.com/" target=3D_blank><SPAN style=3D"mso-bidi-f=
ont-family: Arial"><FONT color=3D#00008b face=3D"Times New Roman">www.abyka=
upang.com/</FONT></SPAN></A> </SPAN></SPAN></SPAN></DIV>
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; =
FONT-SIZE: 10pt; mso-fareast-font-family: 'Arial Unicode MS'"></SPAN>&nbsp;=
</DIV>
<DIV><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FONT=
-SIZE: 10pt">
<DIV><SPAN style=3D"TEXT-TRANSFORM: none; TEXT-INDENT: 0px; BORDER-COLLAPSE=
: separate; FONT: medium 'Times New Roman'; WHITE-SPACE: normal; LETTER-SPA=
CING: normal; COLOR: rgb(0,0,0); WORD-SPACING: 0px" class=3DecxApple-style-=
span><SPAN style=3D"FONT-FAMILY: Tahoma; FONT-SIZE: 13px" class=3DecxApple-=
style-span><SPAN><STRONG>Dan Raphael </STRONG>is a Portland poet whose&nbsp=
;new book&nbsp;<I style=3D"mso-bidi-font-style: normal">Impulse &amp; Warp:=
&nbsp; The Selected 20th Century Poems</I>, came out in&nbsp;September 2010=
. <EM>Impulse &amp; Warp</EM> includes poems from his first 13 collections.=
 In addition, <EM>Children of the Blue Supermarket,</EM> a CD of live perfo=
rmance with saxophonist Rich Halley and drummer Carson Halley, came out in =
February of this year. Current poems&nbsp;appear <I style=3D"mso-bidi-font-=
style: normal">in Rattapallax, Otoliths, Calibanonline, Heavy Bear </I>and<=
I style=3D"mso-bidi-font-style: normal"> Skidrow Penthouse.</I>&nbsp; </SPA=
N></SPAN></SPAN>&nbsp;</DIV>
<DIV></SPAN>&nbsp;</DIV>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><B><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SI=
ZE: 10pt">&nbsp;</SPAN></B></P>
<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNormal><B style=3D"mso-bidi-fon=
t-weight: normal"><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; FONT-SI=
ZE: 10pt"></SPAN></B></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><B style=3D"mso-bi=
di-font-weight: normal"><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; F=
ONT-SIZE: 10pt">&nbsp;</SPAN></B></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><B style=3D"mso-bi=
di-font-weight: normal"><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; F=
ONT-SIZE: 10pt">&nbsp;</SPAN></B></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><B style=3D"mso-bi=
di-font-weight: normal"><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; F=
ONT-SIZE: 10pt">Still: Reality</SPAN></B></P>
<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNormal><SPAN style=3D"FONT-FAMI=
LY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: set in stone, wr=
itten in blood, burned into memory</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: movement exactly=
, across pages and their waves, slight reverberations</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;<SPAN style=3D"mso-t=
ab-count: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <=
/SPAN>in the malleus and incus, innumerable forms mean and functioning</SPA=
N></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: sampling as the =
additive portion of memory, a space forced open </SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><SPAN style=3D"mso-tab-cou=
nt: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <=
/SPAN>between vocal and instrumental culture</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: the fiction of m=
emory, the faction of memoir, risible views and shades on</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><SPAN style=3D"mso-tab-cou=
nt: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <=
/SPAN>the faces of flyers, genre, what the fuck, this really happened</SPAN=
></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: the flyers in th=
e face of the screen, some distant island they are flying to </SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><SPAN style=3D"mso-tab-cou=
nt: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <=
/SPAN>and from, his anger and her lust, his dark secret and her nightingale=
</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: a consumable pro=
duct like a very big pill, you have been dreaming a dj </SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in -9pt 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FO=
NT-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: by necessity, b=
y proclivity and by delight, consider by divining, by chelation</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><SPAN style=3D"mso-tab-cou=
nt: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <=
/SPAN>and by despair</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: signals, like ho=
isting a flag, something in the forearms (lactic Eygptian),</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;<SPAN style=3D"mso-t=
ab-count: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </SPAN>=
and the smell of sea (her just washed hair)</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in -0.25in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D=
"FONT-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: a colony, wh=
at is a colony, what is a child, what is a crime, a muddied diaper, </SPAN>=
</P>
<P style=3D"MARGIN: 0in -0.25in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D=
"FONT-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><SPAN style=3D"mso-tab=
-count: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p; </SPAN>a soiled well, a proffered pen, a routed man</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: his asceticism, =
which is alternating, which seems also to govern his view </SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><SPAN style=3D"mso-tab-cou=
nt: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <=
/SPAN>of the declining narrative</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: something still =
for someone to somehow link them together, you have</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><SPAN style=3D"mso-tab-cou=
nt: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <=
/SPAN>been waiting, it doesn=E2=80=99t speak on your behalf, you have been =
troubled, there</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><SPAN style=3D"mso-tab-cou=
nt: 2">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n=
bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </SP=
AN>is no reducible bullet</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: the whole broad =
omnevolent thing, the essay and the furrier, licentious</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><SPAN style=3D"mso-tab-cou=
nt: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <=
/SPAN>hundred flowering into crease and view</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in -40.5pt 0pt 0.5in" class=3DMsoNormal><SPAN style=3D=
"FONT-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">Consider: a clarion is=
 a brief horn of chance, Smith was a martyr and Jones a tin horn,</SPAN></P=
>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><SPAN style=3D"mso-tab-cou=
nt: 1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <=
/SPAN>it doesn=E2=80=99t speak, you have been troubled, this doesn=E2=80=99=
t make up =E2=80=98a reality=E2=80=99</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;--Matthew Cooperman<=
/SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><B><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SI=
ZE: 10pt">&nbsp;</SPAN></B></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><B><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SI=
ZE: 10pt">the wraithlike invitation into Nothingness</SPAN></B></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><B><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SI=
ZE: 10pt">&nbsp;</SPAN></B></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">creeps in on me&nbsp;&nbsp;&nbsp;&nbsp; fingers<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">slow fingering me<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">&nbsp;<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">someone exactly placed it <B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">on my bruised palm=E2=80=99s doormat<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">&nbsp;<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">I called it rhapsodic<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">improvisational<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">&nbsp;<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; s=
ince then&nbsp;&nbsp;&nbsp;&nbsp; <B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I=
=E2=80=99m anxious always</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">always the fatigue&nbsp;&nbsp;&nbsp;&nbsp; that snatch of rapture<B>=
</B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">the one I&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; as part of all fleshes<B></B=
></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">suffer&nbsp;&nbsp;&nbsp;&nbsp; it=E2=80=99s accompanied<B></B></SPAN=
></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">&nbsp;<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">I accompany it everywhere<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">&nbsp;<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE:=
 10pt">two voices call me<B></B></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><I><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SI=
ZE: 10pt">nescio=E2=80=A6..et excrucior</SPAN></I></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><I><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SI=
ZE: 10pt"></SPAN></I>&nbsp;</P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
><I><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SI=
ZE: 10pt"></SPAN></I>&nbsp;</P><SPAN style=3D"FONT-FAMILY: 'Arial','sans-se=
rif'; COLOR: black; FONT-SIZE: 10pt">
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><EM>&nbsp;--Aby Kaupang</E=
M></SPAN></P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><EM></EM></SPAN>&nbsp;</P>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in" class=3DMsoNormal><SPAN style=3D"FON=
T-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10pt"><EM>&nbsp;</EM></SPAN></P>
<P style=3D"MARGIN: 0in 0in 12pt 0.5in; BACKGROUND: white" class=3DMsoNorma=
l><B style=3D"mso-bidi-font-weight: normal"><SPAN style=3D"FONT-FAMILY: 'Ar=
ial','sans-serif'; COLOR: #2a2a2a; FONT-SIZE: 10pt">(from Fresh Down the Mo=
untain)</SPAN></B></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><B style=3D"mso-bidi-font-weight: normal"><SPAN style=3D"FONT-FAMILY=
: 'Arial','sans-serif'; COLOR: #2a2a2a; FONT-SIZE: 10pt">4)</SPAN></B></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">cities are where dead things come=E2=80=94salmon, beaver, ti=
mber, business, politics.</SPAN></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">we cant all be pyramids. we live higher up with nothing to m=
ow or feed.</SPAN></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">where their bus died they settled on 10 acres. you dont choo=
se a house</SPAN></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">you reach into the bag of now, markets are the constructs of=
 abstract money,</SPAN></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">as if a third of my body doesn=E2=80=99t have bones only mom=
entum and belief</SPAN></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">the investment of habit</SPAN><SPAN style=3D"FONT-FAMILY: 'A=
rial','sans-serif'; COLOR: silver; FONT-SIZE: 10pt">, </SPAN><SPAN style=3D=
"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FONT-SIZE: 10pt"></SPAN=
></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">&nbsp;&nbsp;&nbsp; I didn=E2=80=99t think the door would clo=
se that easily</SPAN></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">when I fell asleep I had no idea the room would move.</SPAN>=
</P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">&nbsp;</SPAN></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">its perfect here, milky way at night, with one microscopic c=
acophony of neon</SPAN></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">halfway eclipsed by the petrified wind, so I know its still =
now in america</SPAN></P>
<P style=3D"MARGIN: 0in 0in 16.2pt 0.5in; BACKGROUND: white" class=3Decxmso=
normal><SPAN style=3D"FONT-FAMILY: 'Arial','sans-serif'; COLOR: #2a2a2a; FO=
NT-SIZE: 10pt">--Dan Raphael</SPAN></P></SPAN>
<P style=3D"MARGIN: 0in 0in 0pt 0.5in; BACKGROUND: white" class=3DMsoNormal=
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From passages@rdrop.com Mon Jun  6 14:48:00 2011
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*Multnomah Arts Center Literary Arts Program*

*Students and instructors**reading from their work *
/       poetry, fiction, nonfiction/

*Friday, June 10, 7:00 pm*
/Free admission/

*Le Meitour Gallery*
/7814 SW Capitol Highway
        Portland, Oregon/

/*Featured readers:*/

/      Margaret Krausse    Loie Van     Virgil Bowman
////James Yeary     Eliana Fromer     Tiffany Wheeler
////Hilda Welch     Paula McNamee     Margot Moore-Wilson
////Joan Murphy Cremer     Con Cremer

////Jesse Morse     Marietta Sisca     Barbara Rozell
////Lisa Radon     Susan Rankin     Ann Holznagel
////John Hall     Leah Stenson     David Abel
////Nicky Tiso     Michelle Elliott

//
/For more information about *Multnomah Arts Center* and the *Literary 
Arts Program*,
call the center at 503-823-2787, go to www.multnomahartscenter.org, or 
call/write
*David Abel*, Literary Arts Coordinator, 503-233-4562, passages@rdrop.com

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    <meta http-equiv="content-type" content="text/html; charset=ISO-8859-1">
  </head>
  <body bgcolor="#ffffff" text="#000000">
    <div class="moz-text-html" lang="x-western">
      <b>Multnomah Arts Center Literary Arts Program</b><br>
      <div class="moz-text-html" lang="x-western"><br>
        <b>Students and instructors</b><b> reading from their work </b><br>
        <i>&nbsp; &nbsp; &nbsp;&nbsp; poetry, fiction, nonfiction</i><br>
        <br>
        <b>Friday, June 10, 7:00 pm</b><br>
        &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Free admission</i><br>
        <br>
        <b>Le Meitour Gallery</b><br>
        &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>7814 SW Capitol Highway<br>
          &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Portland, Oregon</i><br>
        <br>
        <i><b>Featured readers:</b></i><br>
        <br>
        <i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Margaret Krausse&nbsp;&nbsp;&nbsp; Loie Van&nbsp;&nbsp;&nbsp;&nbsp; Virgil Bowman<br>
        </i><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i><i>James Yeary&nbsp;&nbsp;&nbsp;&nbsp; Eliana Fromer&nbsp;&nbsp;&nbsp;&nbsp; Tiffany
          Wheeler<br>
        </i><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i><i>Hilda Welch&nbsp;&nbsp;&nbsp;&nbsp; Paula McNamee&nbsp;&nbsp;&nbsp;&nbsp; Margot
          Moore-Wilson<br>
        </i><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i><i>Joan Murphy Cremer&nbsp;&nbsp;&nbsp;&nbsp; Con Cremer<br>
          <br>
        </i><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i><i>Jesse Morse&nbsp;&nbsp;&nbsp;&nbsp; Marietta Sisca&nbsp;&nbsp;&nbsp;&nbsp; Barbara
          Rozell<br>
        </i><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i><i>Lisa Radon&nbsp;&nbsp;&nbsp;&nbsp; Susan Rankin&nbsp;&nbsp;&nbsp;&nbsp; Ann
          Holznagel<br>
        </i><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i><i>John Hall&nbsp;&nbsp;&nbsp;&nbsp; Leah Stenson&nbsp;&nbsp;&nbsp;&nbsp; David Abel<br>
        </i><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i><i>Nicky Tiso&nbsp;&nbsp;&nbsp;&nbsp; Michelle Elliott<br>
          <br>
        </i><i>
          <br>
        </i>For more information about <b>Multnomah Arts Center</b> and
        the <b>Literary
          Arts Program</b>, <br>
        call the center at 503-823-2787, go to <a
          class="moz-txt-link-abbreviated"
          href="http://www.multnomahartscenter.org">www.multnomahartscenter.org</a>,
        or call/write <br>
        <b>David Abel</b>, Literary Arts Coordinator, 503-233-4562,
        <a class="moz-txt-link-abbreviated"
          href="mailto:passages@rdrop.com">passages@rdrop.com</a></div>
    </div>
  </body>
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From passages@rdrop.com Wed Jun  8 02:02:54 2011
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Subject: [Spare Room Press Release] FWD: Sat. 6/18, Performance Salon
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*/*
*/
*
*/Dadashop Quartet Performance Salon/
*
Photographs by *Anna Daedalus*
*Paintings by * Nita Hill

***
*
Performers (
*
*Dadashop Quartet): *David Abel, John Berendzen, Leo Daedalus, Mack 
McFarland, Mark Owens, Chris Piuma, James Yeary, & guests*
*
*
*Saturday, June 18*
6:30 pm

Studio Thirty Salon
5424 NE 30th Avenue
(just south of Killingsworth)

*
*
*Light refreshments*
*
*
*
**
*
*/Dadashop Quartet Performance Salon/*
*
* is a one-night art reception and*
  absurdist performance in a
**
Dada/Fluxus vein by a group of no fixed name, having previously appeared 
as the *
*
Demagnetic Cabaret, the Three Scrapettes, Blum Blum Shub
*, Re-Arrangutan, and Waiting for Stretchers, among others.
*
*
*
/*
*/*

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  </head>
  <body bgcolor="#ffffff" text="#000000">
    <b><i><span class="Apple-style-span" style="font-style: normal;
          font-weight: normal;"><b>
            <div class="moz-text-html" style="font-weight: normal;"
              lang="x-western"><b><i>
                  <div style="font-style: normal; font-weight: normal;">
                    <div>
                      <div>
                        <div><b>
                            <div class="moz-text-html"
                              style="font-weight: normal;"
                              lang="x-western"><b><i>Dadashop Quartet
                                  Performance Salon</i><br>
                              </b><br>
                              Photographs by&nbsp;<b>Anna Daedalus</b></div>
                            <div class="moz-text-html"
                              style="font-weight: normal;"
                              lang="x-western"><b><span
                                  class="Apple-style-span"
                                  style="font-weight: normal;">Paintings
                                  by&nbsp;</span><span
                                  class="Apple-style-span"
                                  style="font-weight: normal;"><b>&nbsp;Nita
                                    Hill<br>
                                    <br>
                                  </b></span></b><b>
                                <div class="moz-text-html"
                                  style="font-weight: normal; display:
                                  inline ! important;" lang="x-western"><b>
                                    <div class="moz-text-html"
                                      style="font-weight: normal;
                                      display: inline ! important;"
                                      lang="x-western">Performers (</div>
                                  </b></div>
                              </b>Dadashop Quartet):&nbsp;<b>David Abel, John
                                Berendzen, Leo Daedalus, Mack McFarland,
                                Mark Owens, Chris Piuma, James Yeary,
                                &amp; guests</b></div>
                            <div class="moz-text-html"
                              style="font-weight: normal;"
                              lang="x-western"><b><br>
                              </b></div>
                            <div class="moz-text-html"
                              style="font-weight: normal;"
                              lang="x-western"><b>Saturday, June 18</b><br>
                              6:30 pm
                              <div class="moz-text-html"
                                style="font-weight: normal;"
                                lang="x-western"><br>
                              </div>
                              Studio Thirty Salon<br>
                              5424 NE 30th Avenue<br>
                              (just south of Killingsworth)<br>
                              <br>
                            </div>
                            <div class="moz-text-html"
                              style="font-weight: normal;"
                              lang="x-western"><b>
                                <div class="moz-text-html"
                                  style="font-weight: normal;"
                                  lang="x-western"><b>
                                    <div class="moz-text-html"
                                      style="font-weight: normal;"
                                      lang="x-western"><b><span
                                          class="Apple-style-span"
                                          style="font-weight: normal;">Light
                                          refreshments</span></b></div>
                                    <div class="moz-text-html"
                                      style="font-weight: normal;"
                                      lang="x-western"><b><span
                                          class="Apple-style-span"
                                          style="font-weight: normal;"><br>
                                        </span></b></div>
                                  </b></div>
                              </b><b>
                                <div class="moz-text-html"
                                  style="font-weight: normal; display:
                                  inline ! important;" lang="x-western"><b>
                                    <div class="moz-text-html"
                                      style="font-weight: normal;
                                      display: inline ! important;"
                                      lang="x-western"><b><i>Dadashop
                                          Quartet Performance Salon</i></b></div>
                                  </b></div>
                              </b>&nbsp;is a one-night art reception and<b>
                                <div class="moz-text-html"
                                  style="font-weight: normal; display:
                                  inline ! important;" lang="x-western">
                                  <div style="display: inline !
                                    important;">&nbsp;absurdist performance
                                    in a&nbsp;</div>
                                </div>
                              </b><b>
                                <div class="moz-text-html"
                                  style="font-weight: normal; display:
                                  inline ! important;" lang="x-western">
                                  <div style="display: inline !
                                    important;">Dada/Fluxus vein by a
                                    group of no &#64257;xed name, having
                                    previously appeared as the <b>
                                      <div class="moz-text-html"
                                        style="font-weight: normal;
                                        display: inline ! important;"
                                        lang="x-western"><b>
                                          <div class="moz-text-html"
                                            style="font-weight: normal;
                                            display: inline !
                                            important;" lang="x-western">
                                            <div style="display: inline
                                              ! important;">Demagnetic
                                              Cabaret, the Three
                                              Scrapettes, Blum Blum Shub</div>
                                          </div>
                                        </b>, Re-Arrangutan, and Waiting
                                        for Stretchers, among others. &nbsp;</div>
                                    </b></div>
                                </div>
                              </b></div>
                          </b></div>
                      </div>
                    </div>
                  </div>
                </i></b></div>
          </b></span></i></b>
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--------------050409000406040101040507--

From passages@rdrop.com Wed Jun  8 13:19:39 2011
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Date: Wed, 08 Jun 2011 13:19:32 -0700
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*/Oregon Poetic Voices Announces Call to Record Local Poets/*

**Calling all Portland poets! The Oregon Poetic Voices Project (OPV) 
will host an open recording session at the City Archives building (1800 
SW 6th Ave, Suite 550) on *June 24, 2011, from 1:00 -- 5:00 p.m.* Poets 
may record up to four poems, at no expense, to be included in the OPV 
archive, which is hosted by Lewis & Clark College and available on the 
web at www.oregonpoeticvoices.org <http://www.oregonpoeticvoices.org/>.

All poets, published or not, are welcome to record. This will be a 
first-come, first-served event and poets will have about fifteen minutes 
allotted to them. Poets should consider these time constraints when 
deciding which works they want to record.

All participants must be prepared to sign a waiver to allow the 
recordings and texts to be displayed on the website 
(www.oregonpoeticvoices.org <http://www.oregonpoeticvoices.org/>). 
Please also bring paper copies of the poems and a biographical 
statement. All participants will be mailed a CD of their readings.

Recognizing the need for poetry in our lives, the Oregon Poetic Voices 
Project (OPV) began in 2010, in order to create a comprehensive digital 
archive of poetry readings that will complement existing print 
collections of poetry across the state. This sound archive is available 
online to Oregonians of all ages and geographic locations at libraries, 
in schools, at home, or visiting the State Library Poetry Room. OPV is 
funded by the Library Services and Technology Act FFY2011.

For more information, please direct any questions to Poetry Project 
Fellow, Melissa Dalton at 503-768-8190 or mdalton@lclark.edu 
<mailto:mdalton@lclark.edu>. All local poets are also welcome to 
schedule an individual appointment to record in the OPV office, located 
on the Lewis & Clark campus.


Melissa Dalton
Poetry Project Fellow
Oregon Poetic Voices
Lewis & Clark College Special Collections
mdalton@lclark.edu <mailto:mdalton@lclark.edu>
503.768.8190

--------------080706030009030704080604
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
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  <head>

    <meta http-equiv="content-type" content="text/html; charset=ISO-8859-1">
  </head>
  <body bgcolor="#ffffff" text="#000000">
    <p class="MsoNormal"><b style=""><i style=""><span
            style="font-family: 'Times New Roman'; font-size: 14pt;">Oregon
            Poetic Voices Announces Call to Record Local Poets</span></i></b></p>
    <p style="line-height: 150%;" class="MsoNormal"><b style=""><span
          style="font-family: 'Times New Roman';"></span></b><span
        style="font-family: 'Times New Roman';">Calling all Portland
        poets! The Oregon Poetic Voices Project (OPV) will host an open
        recording session at the City Archives building (</span><span
        style="line-height: 150%; font-family: 'Times New Roman';">1800
        SW 6th Ave, Suite 550) </span><span style="font-family: 'Times
        New Roman';">on
        <b> June 24, 2011, from 1:00 &#8211; 5:00 p.m.</b> Poets may record up
        to four poems, at no expense, to be included in the OPV archive,
        which is hosted by Lewis &amp; Clark College and available on
        the web at <a href="http://www.oregonpoeticvoices.org/"
          target="_blank">www.oregonpoeticvoices.org</a>.</span></p>
    <p style="line-height: 150%;" class="MsoNormal"><span
        style="font-family: 'Times New Roman';">All poets, published or
        not, are welcome to record. This will be a first-come,
        first-served event and poets will have about fifteen minutes
        allotted to them. Poets should consider these time constraints
        when deciding which works they want to record. </span><span
        style="font-family: 'Times New Roman';"></span></p>
    <p style="line-height: 150%;" class="MsoNormal"><span
        style="font-family: 'Times New Roman';">All participants must be
        prepared to sign a waiver to allow the recordings and texts to
        be displayed on the website (<a
          href="http://www.oregonpoeticvoices.org/" target="_blank"><span
            style="color: rgb(0, 58, 161);">www.oregonpoeticvoices.org</span></a>).

        Please also bring paper copies of the poems and a biographical
        statement. All participants will be mailed a CD of their
        readings.</span><span style="font-family: 'Times New Roman';"></span></p>
    <p style="line-height: 150%;" class="MsoNormal"><span
        style="font-family: 'Times New Roman';">Recognizing the need for
        poetry in our lives, the Oregon Poetic Voices Project (OPV)
        began in 2010, in order to create a comprehensive digital
        archive of poetry readings that will complement existing print
        collections of poetry across the state. This sound archive is
        available online to Oregonians of all ages and geographic
        locations at libraries, in schools, at home, or visiting the
        State Library Poetry Room. OPV is funded by the Library Services
        and Technology Act FFY2011. </span><span style="font-family:
        'Times New Roman';"></span></p>
    <p style="line-height: 150%;" class="MsoNormal"><span
        style="font-family: 'Times New Roman';">For more information,
        please direct any questions to Poetry Project Fellow, Melissa
        Dalton at 503-768-8190 or <a href="mailto:mdalton@lclark.edu"
          target="_blank">mdalton@lclark.edu</a>. All local poets are
        also welcome to schedule an individual appointment to record in
        the OPV office, located on the Lewis &amp; Clark campus.</span><span
        style="font-family: 'Times New Roman';"></span></p>
    <div><br class="webkit-block-placeholder">
    </div>
    <div>Melissa Dalton<br>
      Poetry Project Fellow<br>
      Oregon Poetic Voices<br>
      Lewis &amp; Clark College Special Collections<br>
      <a href="mailto:mdalton@lclark.edu" target="_blank">mdalton@lclark.edu</a><br>
      503.768.8190</div>
  </body>
</html>

--------------080706030009030704080604--

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/*Poetry on the Piazza*/

Host: David Abel (MAC Literary Arts Program)

*Jesse Morse, James Yeary, Lisa Radon, David Abel*

Monday, July 11, 7:00 pm

*Director Park*
SW Park and Yamhill
directorpark.org

Downtown on a summer evening? Stroll over to Director Park for a free 
open-air poetry reading! Featuring local poets and musicians (and 
special guests from up and down the Coast), the Monday evening readings 
throughout July and August will showcase a few of the many independent 
reading series in the lively Portland literary scene.

This series made possible by a partnership between Director Park and the 
Multnomah Arts Center, and coordinated by David Abel.


*Schedule /(mark your calendars!/)

*7/18  Host: Jesse Morse (Smorg Reading Series)
*                   Melissa Benham, Stacy Elaine Dacheux, Noel Tendick*

7/25  Host: Rodney Koeneke
*                   Bryan Coffelt, Alicia Cohen, Donald Dunbar, Rodney 
Koeneke*

/*       (Note: location for August 1 reading to be announced!)*/
8/1  Host: Dan Raphael (Poetland)
*                 Laura Winter, Christopher Luna, Dan Raphael,
                  Rich Halley (saxophone), Carson Halley (drums)*

8/8  Host: David Abel (Spare Room Reading Series)
*                 James Yeary, Sam Lohmann, Maryrose Larkin, Endi 
Hartigan, *
*                 Jennifer Coleman, David Abel*

8/15  Hosts: Donald Dunbar & Jamalieh Haley (If Not for Kidnap Reading 
Series)
*                    Ethan Saul Bull, Emily Kendal Frey, James Gendron*

8/22  Host: David Abel (Northern Worlds Book Launch Tour)
*                   Robert Mittenthal (Seattle), Donato Mancini 
(Vancouver, BC), *
*                   Louis Cabri (Windsor, ON)*

8/29  Hosts: Paul Maziar & Allison Cobb (The Switch Reading Series)
*                    Paul Maziar, Jen Coleman*


--------------020101030907030902080407
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    <i><b>Poetry on the Piazza</b></i><br>
    <br>
    Host: David Abel (MAC Literary Arts Program)<br>
    <br>
    <b>Jesse Morse, James Yeary, Lisa Radon, David Abel</b><br>
    <br>
    Monday, July 11, 7:00 pm<br>
    <br>
    <b>Director Park</b><br>
    SW Park and Yamhill<br>
    directorpark.org<br>
    <br>
    Downtown on a summer evening? Stroll over to Director Park for a
    free open-air poetry reading! Featuring local poets and musicians
    (and special guests from up and down the Coast), the Monday evening
    readings throughout July and August will showcase a few of the many
    independent reading series in the lively Portland literary scene.<br>
    <br>
    This series made possible by a partnership between Director Park and
    the Multnomah Arts Center, and coordinated by David Abel.<br>
    <br>
    <br>
    <b>Schedule&nbsp; <i>(mark your calendars!</i>)<br>
      <br>
    </b>7/18&nbsp; Host: Jesse Morse (Smorg Reading Series)<br>
    <b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; Melissa Benham, Stacy Elaine Dacheux, Noel
      Tendick</b><br>
    <br>
    7/25&nbsp; Host: Rodney Koeneke<br>
    <b>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; Bryan Coffelt, Alicia Cohen, Donald Dunbar,
      Rodney Koeneke</b><br>
    <br>
    <i><b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Note: location for August 1 reading to be announced!)</b></i><br>
    8/1&nbsp; Host: Dan Raphael (Poetland)<br>
    <b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Laura Winter, Christopher Luna, Dan Raphael, <br>
      &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rich Halley (saxophone), Carson Halley (drums)</b><br>
    <br>
    8/8&nbsp; Host: David Abel (Spare Room Reading Series)<br>
    <b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; James Yeary, Sam Lohmann, Maryrose Larkin, Endi
      Hartigan, </b><br>
    <b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jennifer Coleman, David Abel</b><br>
    <br>
    8/15&nbsp; Hosts: Donald Dunbar &amp; Jamalieh Haley (If Not for Kidnap
    Reading Series)<br>
    <b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ethan Saul Bull, Emily Kendal Frey, James
      Gendron</b><br>
    <br>
    8/22&nbsp; Host: David Abel (Northern Worlds Book Launch Tour)<br>
    <b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Robert Mittenthal (Seattle), Donato Mancini
      (Vancouver, BC), </b><br>
    <b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Louis Cabri (Windsor, ON)</b><br>
    <br>
    8/29&nbsp; Hosts: Paul Maziar &amp; Allison Cobb (The Switch Reading
    Series)<br>
    <b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Paul Maziar, Jen Coleman</b><br>
    <br>
  </body>
</html>

--------------020101030907030902080407--

From peachesandbats@gmail.com Mon Jan 23 23:01:59 2012
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Subject: [Spare Room Press Release] A marathon reading of Barbara Guest's
	COLLECTED POEMS, February 11-12
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--0015175cada4522bbf04b740b84a
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*Spare Room and YU present*

*a marathon reading of Barbara Guest's Collected Poems*

*February 11-12*

*3-8 p.m. each day*

* *

*in the kitchen at YU <http://www.yucontemporary.org>*

*800 SE 10th Ave., Portland*

* *

*free*



On Saturday and Sunday, February 11-12, YU and Spare Room will present a
two-part marathon reading of *The Collected Poems of Barbara Guest *(Wesleyan,
2008). Now in its tenth year, Spare Room
<http://www.flim.com/spareroom> organizes
a monthly reading series at various locations in Portland, focused on
experimental poetry. In recent years they have hosted marathon readings
each winter, inviting members of the community to lend their voices to a
new rendition of an existing text. Recent marathons have been devoted to
single book-length poems, including H.D.'s *Helen in Egypt*, Clark
Coolidge's *The Crystal Text,* and Charles Olson's *Maximus Poems*; this
year's marathon presents the lively and varied life's work of an
influential poet who worked mainly in shorter forms.



Barbara Guest (1920-2006) was a poet, art critic, novelist and biographer
often associated with the New York School(s) in poetry and painting. Her
work reflects a lifelong engagement with modernism in visual art and music
as well as in literature, and is marked by a unique combination of
audacious abstraction, vivid synesthesia and comic energy. Her
posthumous *Collected
Poems* brings together over twenty books published between 1960 and
2005. Readers from Portland's poetry community will read the book aloud
from beginning to end over two afternoon sessions, each beginning at 3 p.m.
and continuing till about 8, at YU's spacious kitchen table. Listeners are
encouraged to come and go as they please, stopping by for a few pages or a
few hours.



**************

* *

*              understanding what it means*

*              to understand music*

* *

*cloudless movement       beyond the neck's reach*

* *

*an hypnotic lull in porcelain          water break          mimics*

* *

*tonality       crunch of sand under waddling*

* *

* *

*               a small seizure               *

*               from monumentality*

* *

*               **does not come or go with understanding*

*            --Barbara Guest, from "Dissonance Royal Traveler"*

* *

*Guest's language does not merely describe, it presents the reader with the
means to see in an entirely new way. *

*--Erica Kaufman, Poetry Project Newsletter*

--0015175cada4522bbf04b740b84a
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: quoted-printable

<br><div class=3D"gmail_quote"><br>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><font face=3D"Arial" size=3D"5"><span style=3D"font-size:=
17px"><b>Spare Room and YU present</b></span></font></p>
<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">a m=
arathon reading of
Barbara Guest&#39;s <i>Collected Poems</i></span></b><span style=3D"font-si=
ze:13.0pt;font-family:Arial"></span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">Feb=
ruary 11-12</span></b><span style=3D"font-size:13.0pt;font-family:Arial"></=
span></p>



<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">3-8=
 p.m. each day</span></b><span style=3D"font-size:13.0pt;font-family:Arial"=
></span></p>



<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">=A0=
</span></b></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">in =
the kitchen at <a href=3D"http://www.yucontemporary.org" target=3D"_blank">=
YU</a></span></b><span style=3D"font-size:13.0pt;font-family:Arial"></span>=
</p>



<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">800=
 SE 10th Ave., Portland</span></b><span style=3D"font-size:13.0pt;font-fami=
ly:Arial"></span></p>



<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">=A0=
</span></b></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">fre=
e</span></b><span style=3D"font-size:13.0pt;font-family:Arial"></span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><span style=3D"font-size:13.0pt;font-family:Arial">=A0</s=
pan></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><span style=3D"font-size:13.0pt;font-family:Arial">On Sat=
urday and Sunday,
February 11-12, YU and Spare Room will present a two-part marathon reading =
of <i>The
Collected Poems of Barbara Guest </i>(Wesleyan, 2008). Now in its tenth yea=
r, <a href=3D"http://www.flim.com/spareroom" target=3D"_blank"><span style=
=3D"color:#001ac5">Spare Room</span></a>=A0organizes
a monthly reading series at various locations in Portland, focused on
experimental poetry. In recent years they have hosted marathon readings eac=
h
winter, inviting members of the community to lend their voices to a new
rendition of an existing text. Recent marathons have been devoted to single
book-length poems, including H.D.&#39;s <i>Helen in Egypt</i>, Clark Coolid=
ge&#39;s <i>The
Crystal Text,</i> and Charles Olson&#39;s <i>Maximus Poems</i>; this year&#=
39;s
marathon presents the lively and varied life&#39;s work of an influential p=
oet who
worked mainly in shorter forms.</span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><span style=3D"font-size:13.0pt;font-family:Arial">=A0</s=
pan></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><span style=3D"font-size:13.0pt;font-family:Arial">Barbar=
a Guest (1920-2006)
was a poet, art critic, novelist and biographer often associated with the N=
ew
York School(s) in poetry and painting. Her work reflects a lifelong engagem=
ent
with modernism in visual art and music as well as in literature, and is mar=
ked
by a unique combination of audacious abstraction, vivid synesthesia and com=
ic
energy. Her posthumous <i>Collected Poems</i>=A0brings together over twenty
books published between 1960 and 2005.=A0Readers from Portland&#39;s poetry
community will read the book aloud from beginning to end over two afternoon
sessions, each beginning at 3 p.m. and continuing till about 8, at YU&#39;s
spacious kitchen table. Listeners are encouraged to come and go as they ple=
ase,
stopping by for a few pages or a few hours.</span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><span style=3D"font-size:13.0pt;font-family:Arial">=A0</s=
pan></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><span style=3D"font-size:13.0pt;font-family:Arial">******=
********</span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><i><span style=3D"font-size:13.0pt;font-family:Arial">=A0=
</span></i></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><i><span style=3D"font-size:13.0pt;font-family:Arial">=A0=
=A0 =A0 =A0
=A0 =A0 =A0 <b>=A0understanding what it means</b></span></i><span style=3D"=
font-size:13.0pt;font-family:Arial"></span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><i><span style=3D"font-size:13.0pt;font-family:Arial">=
=A0=A0
=A0 =A0 =A0 =A0 =A0 =A0to understand music</span></i></b><span style=3D"fon=
t-size:13.0pt;font-family:Arial"></span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><i><span style=3D"font-size:13.0pt;font-family:Arial">=
=A0</span></i></b></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">clo=
udless movement =A0
=A0 =A0 beyond the neck&#39;s reach</span></b><span style=3D"font-size:13.0=
pt;font-family:Arial"></span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">=A0=
</span></b></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">an =
hypnotic lull in
porcelain =A0 =A0 =A0 =A0 =A0water break =A0 =A0 =A0
=A0 =A0mimics</span></b><span style=3D"font-size:13.0pt;font-family:Arial">=
</span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">=A0=
</span></b></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">ton=
ality =A0 =A0
=A0 crunch of sand under waddling</span></b><span style=3D"font-size:13.0pt=
;font-family:Arial"></span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">=A0=
</span></b></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">=A0=
</span></b></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">=A0=
=A0 =A0 =A0
=A0 =A0 =A0 =A0 <i>a small seizure=A0=A0 =A0 =A0 =A0
=A0 =A0 =A0=A0</i></span></b><span style=3D"font-size:13.0pt;font-family:Ar=
ial"></span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><i><span style=3D"font-size:13.0pt;font-family:Arial">=
=A0=A0
=A0 =A0 =A0 =A0 =A0 =A0 from monumentality</span></i></b><span style=3D"fon=
t-size:13.0pt;font-family:Arial"></span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><i><span style=3D"font-size:13.0pt;font-family:Arial">=
=A0</span></i></b></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><i><span style=3D"font-size:13.0pt;font-family:Arial">=
=A0=A0
=A0 =A0 =A0 =A0 =A0 =A0 </span></i></b><b><span style=3D"font-size:13.0pt;f=
ont-family:Arial">does not
come or go with understanding</span></b><span style=3D"font-size:13.0pt;fon=
t-family:Arial"></span></p>

<p class=3D"MsoNormal" align=3D"center" style=3D"margin-bottom:0in;margin-b=
ottom:.0001pt;text-align:center;text-autospace:none"><b><span style=3D"font=
-size:13.0pt;font-family:Arial">=A0=A0 =A0 =A0 =A0 =A0 =A0--Barbara Guest, =
from &quot;Dissonance Royal Traveler&quot;</span></b><span style=3D"font-si=
ze:13.0pt;font-family:Arial"></span></p>



<p class=3D"MsoNormal" align=3D"center" style=3D"margin-bottom:0in;margin-b=
ottom:.0001pt;text-align:center;text-autospace:none"><b><span style=3D"font=
-size:13.0pt;font-family:Arial">=A0</span></b></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:0in;margin-bottom:.0001pt;tex=
t-autospace:none"><b><span style=3D"font-size:13.0pt;font-family:Arial">Gue=
st&#39;s language does not
merely describe, it presents the reader with the means to see in an entirel=
y
new way.=A0</span></b><span style=3D"font-size:13.0pt;font-family:Arial"></=
span></p>

<p class=3D"MsoNormal" align=3D"center" style=3D"margin-bottom:0in;margin-b=
ottom:.0001pt;text-align:center;text-autospace:none"><b><span style=3D"font=
-size:13.0pt;font-family:Arial">--Erica Kaufman, <i>Poetry Project Newslett=
er</i></span></b><span style=3D"font-size:13.0pt;font-family:Arial"></span>=
</p>






</div><br>

--0015175cada4522bbf04b740b84a--


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Subject: [Spare Room Press Release] Sunday,
	2/5: Haley & Lease read for Spare Room
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--00151740241c7fd0c904b740bb2b
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Spare Room <http://www.flim.com/spareroom> presents a poetry reading by
*Jamalieh Haley*
*&*
*Joseph Lease*

Sunday, February 5th
*7:30 PM
Open Space Cafe <http://openspacecafe.com/>
2815 SE Holgate

$5.00 suggested donation


==============================

Upcoming Readings

February 11-12
Barbara Guest's Collected Poems
March 11
Jen Tynes, Jen Denrow, Dan Singer
April 29
Cloud Shepherd: Andrew Joron, Joseph Noble,  Brian Lucas
May 27
Dan Thomas-Glass, Phoebe Wayne
June 16
Brandon Brown, Alli Warren

==============================

*
*
Joseph Lease's critically acclaimed books of poetry include Testify (Coffee
House Press, 2011), Broken World (Coffee House Press, 2007), and Human
Rights(Talisman House, second edition forthcoming). Lease's poems "'Broken
World' (For James Assatly)" and "Send My Roots Rain" have been
selected for Postmodern
American Poetry: A Norton Anthology (Second Edition).  "'Broken World' (For
James Assatly)" was also selected for The Best American Poetry 2002.
Lease was born in Chicago, and attended Columbia University, Brown
University, and Harvard University.  He has received The Academy of
American Poets Prize, The Henry Evans Fellowship in Poetry, and Fellowships
and grants in poetry and poetics from Columbia University, Harvard
University, Brown University, and California College of the Arts.  He is a
Professor of Writing and Literature at California College of the Arts and a
member of the Advisory Board of the Princeton Encyclopedia of Poetry and
Poetics.

Jamalieh Haley lives in Portland, Oregon, where she co-curates If Not For
Kidnap Poetry series. Her work has been published in Poetry Miscellany,
Birds & Whistles, Folio, Poor Claudia, and Small Doggies, and shown at
various gallery spaces such as PLACE, Research Club, and Recess. She
currently teaches writing and works on several manuscripts at the same time
-- a method that has its consequences. She's a graduate of Vermont College
of Fine Art.


America

my scream is a brand name:

blue -- for a while --

elm trees and summer and birch trees and sky, elm trees and summer and
birch trees and sky: expensive houses, expensive houses dying: this lack of
justice I acknowledge mine --

America, one extra summer night -- he wants to (you know) feel like a giant
eyeball --

Joseph Lease


*

You have already changed me

look, my dress

is a little white bomb

of outer space

that will slowly murder

the graceful museum

of objects

we are dedicated to preserving

but we are dedicated to preserving

that moment without objects

which pleads the nightmare

to produce breathable air

body I fold

my body into

just back down

the stairs of blackness

out of my little white dress

already exploded

Jamalieh Haley*

--00151740241c7fd0c904b740bb2b
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: quoted-printable

<div class=3D"gmail_quote"><span class=3D"Apple-style-span" style=3D"font-f=
amily:arial,helvetica,sans-serif;line-height:20px"><a href=3D"http://www.fl=
im.com/spareroom" target=3D"_blank">Spare Room</a> presents a poetry readin=
g by</span><br>
<span style=3D"font-family:&#39;gill sans&#39;,verdana,georgia,arial,sans-s=
erif;color:rgb(51,51,51);line-height:20px">
<div><span style=3D"font-family:arial,helvetica,sans-serif;font-size:small"=
><font color=3D"#000000"><b>Jamalieh Haley</b></font></span></div><div><fon=
t color=3D"#000000" face=3D"arial, helvetica, sans-serif"><b>&amp;</b></fon=
t></div>

<div><font color=3D"#000000" face=3D"arial, helvetica, sans-serif"><b>Josep=
h Lease</b></font></div><h3 style=3D"margin-top:0px;margin-right:0px;margin=
-bottom:10px;margin-left:0px;padding-top:0px;padding-right:0px;padding-bott=
om:0px;padding-left:0px;font-weight:bold">

<span style=3D"font-family:arial,helvetica,sans-serif;font-weight:normal;fo=
nt-size:small"><br></span></h3><h3 style=3D"margin-top:0px;margin-right:0px=
;margin-bottom:10px;margin-left:0px;padding-top:0px;padding-right:0px;paddi=
ng-bottom:0px;padding-left:0px;font-weight:bold">

<span style=3D"font-family:arial,helvetica,sans-serif;font-weight:normal;fo=
nt-size:small"><font color=3D"#000000"></font>Sunday, February 5th</span></=
h3><div><font face=3D"arial, helvetica, sans-serif"><b><span style=3D"color=
:rgb(34,34,34);font-family:arial,sans-serif;font-weight:normal;line-height:=
normal;font-size:13px;border-collapse:collapse">7:30 PM<br>

<a href=3D"http://openspacecafe.com/" style=3D"color:rgb(17,85,204)" target=
=3D"_blank">Open Space Cafe</a><br>2815 SE Holgate<br><br>$5.00 suggested d=
onation<br><br><br>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<div lang=3D"x-western"><br><b>Upcoming=
 Readings</b><br>

=A0=A0<div><b>February 11-12</b></div><div>Barbara Guest&#39;s<i>=A0Collect=
ed Poems</i></div><div><b>March 11</b></div><div>Jen Tynes, Jen Denrow, Dan=
 Singer<b><br>April 29</b><br><i>Cloud Shepherd:</i>=A0Andrew Joron, Joseph=
 Noble,=A0 Brian Lucas=A0<br>

<b>May 27</b><br>Dan Thomas-Glass, Phoebe Wayne<b><br>June 16</b><br>Brando=
n Brown, Alli Warren</div><div><br></div><div>=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D</div><div><=
br></div></div></span></b></font></div><div><b><span style=3D"color:rgb(0,0=
,0);font-weight:normal"><b><div>

<font face=3D"arial, helvetica, sans-serif">Joseph Lease</font><span style=
=3D"font-weight:normal"><font face=3D"arial, helvetica, sans-serif">&#39;s =
critically acclaimed books of poetry include=A0</font><i><font face=3D"aria=
l, helvetica, sans-serif">Testify</font></i><font face=3D"arial, helvetica,=
 sans-serif">=A0(Coffee House Press, 2011),=A0</font><i><font face=3D"arial=
, helvetica, sans-serif">Broken World</font></i><font face=3D"arial, helvet=
ica, sans-serif">=A0(Coffee House Press, 2007), and=A0</font><i><font face=
=3D"arial, helvetica, sans-serif">Human Rights</font></i><font face=3D"aria=
l, helvetica, sans-serif">(Talisman House, second edition forthcoming). Lea=
se&#39;s poems &quot;&#39;Broken World&#39; (For James Assatly)&quot; and &=
quot;Send My Roots Rain&quot; have been selected for=A0</font><i><font face=
=3D"arial, helvetica, sans-serif">Postmodern American Poetry: A Norton Anth=
ology=A0</font></i><font face=3D"arial, helvetica, sans-serif">(Second Edit=
ion). =A0&quot;&#39;Broken World&#39; (For James Assatly)&quot; was also se=
lected for The Best American Poetry 2002.=A0</font></span></div>

<div><span style=3D"font-weight:normal;color:rgb(51,51,51)"><b><span style=
=3D"color:rgb(0,0,0);font-weight:normal"><b><div style=3D"display:inline!im=
portant"><span style=3D"font-weight:normal"><font face=3D"arial, helvetica,=
 sans-serif">Lease was born in Chicago, and attended Columbia University, B=
rown University, and Harvard University. =A0He has received The Academy of =
American Poets Prize, The Henry Evans Fellowship in Poetry, and Fellowships=
 and grants in poetry and poetics from Columbia University, Harvard Univers=
ity, Brown University, and California College of the Arts. =A0He is a Profe=
ssor of Writing and Literature at California College of the Arts and a memb=
er of the Advisory Board of the=A0</font><i><font face=3D"arial, helvetica,=
 sans-serif">Princeton Encyclopedia of Poetry and Poetics</font></i><font f=
ace=3D"arial, helvetica, sans-serif">.</font></span></div>

</b></span></b></span></div></b><font face=3D"arial, helvetica, sans-serif"=
><br></font><b><font face=3D"arial, helvetica, sans-serif">Jamalieh Haley</=
font></b><font face=3D"arial, helvetica, sans-serif">=A0lives in Portland, =
Oregon, where she co-curates If Not For Kidnap Poetry series. Her work has =
been published in=A0</font><i><font face=3D"arial, helvetica, sans-serif">P=
oetry Miscellany, Birds &amp; Whistles, Folio, Poor Claudia</font></i><font=
 face=3D"arial, helvetica, sans-serif">, and=A0</font><i><font face=3D"aria=
l, helvetica, sans-serif">Small Doggies</font></i><font face=3D"arial, helv=
etica, sans-serif">, and shown at various gallery spaces such as PLACE, Res=
earch Club, and Recess. She currently teaches writing and works on several =
manuscripts at the same time -- a method that has its consequences. She&#39=
;s a graduate of Vermont College of Fine Art.<br>

<br><br></font><b><font face=3D"arial, helvetica, sans-serif">America</font=
></b><font face=3D"arial, helvetica, sans-serif"><br><br>my scream is a bra=
nd name:<br><br>blue -- for a while --<br>
<br>elm trees and summer and birch trees and sky, elm trees and summer and =
birch trees and sky: expensive houses, expensive houses dying: this lack of=
 justice I acknowledge mine --<br><br>America, one extra summer night -- he=
 wants to (you know) feel like a giant eyeball --<br>

<br></font><b><font face=3D"arial, helvetica, sans-serif">Joseph Lease</fon=
t></b><font face=3D"arial, helvetica, sans-serif"><br><br><br></font><b><fo=
nt face=3D"arial, helvetica, sans-serif">*</font></b><font face=3D"arial, h=
elvetica, sans-serif"><br>

<br>You have already changed me<br><br>look, my dress<br><br>is a little wh=
ite bomb<br><br>of outer space<br><br>that will slowly murder<br><br>the gr=
aceful museum<br><br>of objects<br><br>we are dedicated to preserving<br>

<br>but we are dedicated to preserving<br><br>that moment without objects<b=
r><br>which pleads the nightmare<br><br>to produce breathable air<br><br>bo=
dy I fold<br><br>my body into<br><br>just back down<br><br>the stairs of bl=
ackness<br>

<br>out of my little white dress<br><br>already exploded<br><br></font><b><=
font face=3D"arial, helvetica, sans-serif">Jamalieh Haley</font></b></span>=
</b></div></span>
</div><br>

--00151740241c7fd0c904b740bb2b--


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To: passages-pr@rdrop.com
Content-Type: multipart/alternative; boundary=f46d043c7ba409662104b9aa1265
Subject: [Spare Room Press Release] Peaches and Bats #9 reading: Ashby,
	Larkin, Yeary, 3/4
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--f46d043c7ba409662104b9aa1265
Content-Type: text/plain; charset=ISO-8859-1

*
Spare Room presents
*
*a publication party for Peaches and Bats #9

with readings by
Chris Ashby
Maryrose Larkin
James Yeary

Sunday, March 4th
*6:30 p.m.*

Mother Foucault's Bookshop
523 SE Morrison St.

free*

Peaches and Bats <http://www.peachbats.blogspot.com> is a handmade magazine
of poetry and adventure edited by Sam Lohmann in Portland, and appears
about twice a year. To celebrate the appearance of the magazine's ninth
issue, Spare Room and Mother Foucault's Bookshop are joining forces to host
a reading by three local contributors to the issue. "The Firm & Aerie" will
provide editorial interrompules.

*Chris Ashby* is a writer and musician. Having performed as Galveston for
years in the Portland area, he released a self-titled EP and is in the
process of releasing a full-length, *Settle Down*. His writing has appeared
in self-publications, chapbook collaborations with visual artists (most
frequently, Nate Orton's *My Day* series), and in James Yeary's c_L
Newsletter. He splits his time between the M.A. in English program at
Portland State University and as a forestry technician with the Mt. Hood
National Forest.

*Maryrose Larkin*'s *The Identification of Ghosts* is forthcoming from Chax
Press. She is a member of the Spare Room Collective, as well as a co-editor
of Flash+Card press. Maryrose is interested in moving through the
procedural into the unknowable.

*James Yeary* is a poet and like-minded artist living in Portland, Oregon.
He has organized various events for the Spare Room collective reading
series, and has recently had a chapbook, *W*, published by Inkhorn press,
and some epistolary essays published in *Swap/Concessions*.

*Please Note: This reading begins at 6:30 p.m. (unlike most of Spare Room
readings which begin at 7:30).*

============
*Other Upcoming Readings:*
April 29: *Cloud Shepherd*: Andrew Joron, Joseph Noble, and Brian Lucas
May 26: Dan Thomas-Glass and Phoebe Wayne
June TBA: Brandon Brown, Alli Warren, and Zosia Wiatr
============
*
*

from *After Language*

I.

what I would like, he
said, is
to change your mind

there is no promise in
language what's
left is what's left

to reduce every time
I reread I
get something new can

the same be said
of (talking)


II.

the line up which we
walk, the yellow, blue
brown bark of the ponderosa

the stones in the creek
how do you
say
                        "the water is running"
the line is not a metaphor the poem is
the trail in Southern
Oregon outside
Grants Pass

*Chris Ashby*




from *The Identification of Ghosts*

trust in touch & hazard in situation

the score in which the I structure
the word is it understood as a whole

moral panic is
a method of being awake

but most  use the sleeping  variation

*Maryrose Larkin*





*Chopin Waltz*

If music is measured in its distance from my computer
The arrows unfold over a generation
& we all bow

Grey heart of pine, what good is your poetry
All become twin tone & born of two inks
bleed into ideas

Early birds crowing for bread
Steal from the next line
& blur in the fort

Like whisky & honey do
I traipse over to Varg without cleave
objects or kind

As a pine frame rounds a portrait
& all is collaged but the groyne

Each answer an animal, great poems unmet
I answer without a hood

As you are ushered into the wool
The striations that cleave & yet
Respond as themselves

As a crooked eye in the face of a letter

*James Yeary*

--f46d043c7ba409662104b9aa1265
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: quoted-printable

<div class=3D"gmail_quote"><b><div style=3D"display:inline!important"><b>Sp=
are Room presents</b></div></b><br><b>a publication party for <i>Peaches an=
d Bats</i> #9<br><br>with readings by<br>Chris Ashby<br>Maryrose Larkin<br>=
James Yeary<br>
<br>Sunday, March 4th<br>*6:30 p.m.*<br><br>Mother Foucault&#39;s Bookshop<=
br>
523 SE Morrison St.<br><br>free</b><br><br><a href=3D"http://www.peachbats.=
blogspot.com" target=3D"_blank">Peaches and Bats</a> is a handmade magazine=
 of poetry and adventure edited by Sam Lohmann in Portland, and appears abo=
ut twice a year. To celebrate the appearance of the magazine&#39;s ninth is=
sue, Spare Room and Mother Foucault&#39;s Bookshop are joining forces to ho=
st a reading by three local contributors to the issue. &quot;The Firm &amp;=
 Aerie&quot; will provide editorial interrompules.<br>

<br><b>Chris Ashby</b> is a writer and musician. Having performed as Galves=
ton for years in the Portland area, he released a self-titled EP and is in =
the process of releasing a full-length, <i>Settle Down</i>. His writing has=
 appeared in self-publications, chapbook collaborations with visual artists=
 (most frequently, Nate Orton&#39;s <i>My Day</i> series), and in James Yea=
ry&#39;s c_L Newsletter. He splits his time between the M.A. in English pro=
gram at Portland State University and as a forestry technician with the Mt.=
 Hood National Forest. <br>

<br><b>Maryrose Larkin</b>&#39;s <i>The Identification of Ghosts</i> is for=
thcoming from Chax Press. She is a member of the Spare Room Collective, as =
well as a co-editor of Flash+Card press. Maryrose is interested in moving t=
hrough the procedural into the unknowable. <br>

<br><b>James Yeary</b> is a poet and like-minded artist living in Portland,=
 Oregon. He has organized various events for the Spare Room collective read=
ing series, and has recently had a chapbook, <i>W</i>, published by Inkhorn=
 press, and some epistolary essays published in <i>Swap/Concessions</i>.<br=
>

<br><b>Please Note: This reading begins at 6:30 p.m. (unlike most of Spare =
Room readings which begin at 7:30).</b><br><br><div>=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D</div><div><b>Other Upcoming Readings:</b></div><div>April 2=
9: <i>Cloud Shepherd</i>: Andrew Joron, Joseph Noble, and Brian Lucas</div>

<div>May 26: Dan Thomas-Glass and Phoebe Wayne</div><div>June TBA: Brandon =
Brown, Alli Warren, and Zosia Wiatr</div><div>=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D</div><div><b><br></b></div><div><br>from <b>After Language</b><br=
><br>I.<br><br>what I would like, he <br>

said, is<br>to change your mind<br><br>there is no promise in<br>language w=
hat&#39;s <br>left is what&#39;s left<br><br>to reduce every time <br>I rer=
ead I<br>get something new can <br><br>the same be said <br>of (talking)<br=
>

<br><br>II.<br><br>the line up which we <br>walk, the yellow, blue<br>brown=
 bark of the ponderosa<br><br>the stones in the creek <br>how do you <br>sa=
y <br> =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 &quot;the water is r=
unning&quot;<br>the line is not a metaphor the poem is <br>

the trail in Southern<br>Oregon outside <br>Grants Pass<br><br><b>Chris Ash=
by</b><br><br><br><br><br>from <b>The Identification of Ghosts</b><br><br>t=
rust in touch &amp; hazard in situation<br><br>the score in which the I str=
ucture<br>

the word is it understood as a whole<br><br>moral panic is<br>a method of b=
eing awake<br><br>but most =A0use the sleeping =A0variation <br> <br><b>Mar=
yrose Larkin</b><br><br><br><br><br><br><b>Chopin Waltz</b><br><br>If music=
 is measured in its distance from my computer<br>

The arrows unfold over a generation<br>	&amp; we all bow<br><br>Grey heart =
of pine, what good is your poetry<br>All become twin tone		&amp; born of tw=
o inks<br>	bleed into ideas<br><br>Early birds crowing for bread<br>Steal f=
rom the next line<br>

	&amp; blur in the fort<br><br>Like whisky &amp; honey do<br>I traipse over=
 to Varg without cleave<br>	objects or kind<br><br>As a pine frame rounds a=
 portrait<br>&amp; all is collaged but the groyne<br>	<br>Each answer an an=
imal, great poems unmet<br>

	I answer without a hood<br><br>As you are ushered into the wool<br>	The st=
riations that cleave &amp; yet<br>	Respond as themselves<br><br>As a crooke=
d eye in the face of a letter<br><br><b>James Yeary</b></div>
</div><br>

--f46d043c7ba409662104b9aa1265--


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Subject: [Spare Room Press Release] Saturday, 5/26: Thomas-Glass & Wayne
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Content-Type: text/plain; charset=ISO-8859-1

Spare Room presents a poetry reading by

*Dan Thomas-Glass
&
Phoebe Wayne*

Saturday, May 26th
7:30 p.m.

Mother Foucault's Bookshop
523 SE Morrison St.

$5 suggested donation

www.flim.com/spareroom

============
*Upcoming readings*
*
*
*July 1 : Brandon Brown, Alli Warren, & Zosia Wiatr*
*July 8 : Judith Goldman, Chris McCreary, & Jenn McCreary*
*July 29 : Jared Stanley & Chris Piuma*
*August 12 : Chris Pusateri, Michelle Naka Pierce, & Stephen Vincent*
*============
*
*Dan Thomas-Glass* is the author of three chapbooks--most recently *Kate &
Sonia (in the months before our second daughter's birth)*, from the Little
Red Leaves Textile Series. A collection of ten 7-inch record-poems is being
published this spring by Dana Ward's Perfect Lovers Press. He lives in the
San Francisco Bay Area with his wife Kate and their daughters Sonia and
Alma.

*Phoebe Wayne* is the author of a chapbook called *Lovejoy* (c_L Press).
Some of her recent work has been published in the magazines *Trickhouse,
Foursquare, With + Stand*, and *Peaches and Bats*. She lives in Portland
with her husband and son, and works as a librarian at the Multnomah County
Library.



*Make ourselves harmless*

Credos hung limp this August.
We felt it, flags felt it, archetypes
& eccentrics felt the coming drought--a long dryness of form or desire
--pressed to windowpanes
we watched the thinking pass
or not pass, watching ideas cloud
& commercials for clouds in
the abstract background also
watched, after a fashion, after
The Fashion Show & Project Runway considering our garments closely
like sweaty stitches in creative space
we wished for animals to crowd
a yard we also wished for, chicks
& eggs & certain sustainable
vegetables--a life supported
by land we could own, some
how we could afford to dream
of the unaffordable objects of desire blooming in this brief before & now
you listen to Wendell Berry
on Forum while 101 spirals
south under our wheels, cows
like lights portion the fields
like harbors mastered in Key
West--Sonia sleeping to her
song, hers & ours at once after
some thousands of iterations
playing on the iPod with etched
singularity: *She sang beyond
the genius of the sea*--I typed
it for you into an order form on the Apple website once for Valentine's Day
--next a machine or person
in China gave these words a
form on red metal that for a
season meant AIDS or Africa
& after that season red was
just red & people wear those
Gap t-shirts to the gym like
Africa is fixed or history just
forgets us so we agree to cremate each other & scatter our ashes to the
seas.

*Dan Thomas-Glass*



from *Anatomy of A*

*Standing up into a low sky
But for rushing water
Some trees hanging
Some stability floating across the pool
Blurring up the steps *

*Phoebe Wayne*

--f46d043890f52a989104bfcccb72
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: quoted-printable

Spare Room presents a poetry reading by<br><br><b>Dan Thomas-Glass<br>&amp;=
<br>Phoebe Wayne</b><br><br>Saturday, May 26th<br>7:30 p.m.<br><br>Mother F=
oucault&#39;s Bookshop<br>523 SE Morrison St.<br><br>$5 suggested donation<=
div>
<br></div><div><a href=3D"http://www.flim.com/spareroom">www.flim.com/spare=
room</a><br><br></div><div>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D</div><div><=
b>Upcoming readings</b></div><div><b><br></b></div><div><b><span class=3D"A=
pple-style-span" style=3D"font-weight:normal">July 1 : Brandon Brown, Alli =
Warren, &amp; Zosia Wiatr</span></b></div>
<div><b><span class=3D"Apple-style-span" style=3D"font-weight:normal">July =
8 : Judith Goldman, Chris McCreary, &amp; Jenn McCreary</span></b></div><di=
v><b><span class=3D"Apple-style-span" style=3D"font-weight:normal">July 29 =
: Jared Stanley &amp; Chris Piuma</span></b></div>
<div><b><span class=3D"Apple-style-span" style=3D"font-weight:normal">Augus=
t 12 : Chris Pusateri, Michelle Naka Pierce, &amp; Stephen Vincent</span></=
b></div><div><b><span class=3D"Apple-style-span" style=3D"font-weight:norma=
l">=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<br>
</span></b><br></div><div><b>Dan Thomas-Glass</b>=A0is the author of three =
chapbooks--most recently=A0<i>Kate &amp; Sonia (in the months before our se=
cond daughter&#39;s birth)</i>, from the Little Red Leaves Textile Series. =
A collection of ten 7-inch record-poems is being published this spring by D=
ana Ward&#39;s Perfect Lovers Press. He lives in the San Francisco Bay Area=
 with his wife Kate and their daughters Sonia and Alma.=A0<br>
<br><b>Phoebe Wayne</b>=A0is the author of a chapbook called=A0<i>Lovejoy</=
i>=A0(c_L Press). Some of her recent work has been published in the magazin=
es=A0<i>Trickhouse, Foursquare, With + Stand</i>, and=A0<i>Peaches and Bats=
</i>. She lives in Portland with her husband and son, and works as a librar=
ian at the Multnomah County Library.<br>
<br><br><br><b>Make ourselves harmless</b><br><br>Credos hung limp this Aug=
ust.<br>We felt it, flags felt it, archetypes<br>&amp; eccentrics felt the =
coming drought--a long dryness of form or desire<br>--pressed to windowpane=
s<br>
we watched the thinking pass<br>or not pass, watching ideas cloud<br>&amp; =
commercials for clouds in<br>the abstract background also<br>watched, after=
 a fashion, after<br>The Fashion Show &amp; Project Runway considering our =
garments closely<br>
like sweaty stitches in creative space<br>we wished for animals to crowd<br=
>a yard we also wished for, chicks<br>&amp; eggs &amp; certain sustainable<=
br>vegetables--a life supported<br>by land we could own, some<br>how we cou=
ld afford to dream<br>
of the unaffordable objects of desire blooming in this brief before &amp; n=
ow<br>you listen to Wendell Berry<br>on Forum while 101 spirals<br>south un=
der our wheels, cows<br>like lights portion the fields<br>like harbors mast=
ered in Key<br>
West--Sonia sleeping to her<br>song, hers &amp; ours at once after<br>some =
thousands of iterations<br>playing on the iPod with etched<br>singularity:=
=A0<i>She sang beyond<br>the genius of the sea</i>--I typed<br>it for you i=
nto an order form on the Apple website once for Valentine&#39;s Day<br>
--next a machine or person<br>in China gave these words a<br>form on red me=
tal that for a<br>season meant AIDS or Africa<br>&amp; after that season re=
d was<br>just red &amp; people wear those<br>Gap t-shirts to the gym like<b=
r>
Africa is fixed or history just<br>forgets us so we agree to cremate each o=
ther &amp; scatter our ashes to the seas.<br><br><b>Dan Thomas-Glass</b><br=
><br><br><br>from=A0<b>Anatomy of A</b><br><br><i>Standing up into a low sk=
y<br>
But for rushing water=A0<br>Some trees hanging=A0<br>Some stability floatin=
g across the pool<br>Blurring up the steps=A0</i><br><br><b>Phoebe Wayne</b=
></div>

--f46d043890f52a989104bfcccb72--