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In Case You Didn't Know
ICYDK (In Case You Didn’t Know) Short Biographical notes on the boldly named (compiled by Steven Lavoie). Lawrence Ferlinghetti ~ first language was French Eugene O’Neill ~ built Tao House near Danville to entertain Charles Chaplin Henry Miller ~ in Paris in the 1930s Kenneth Rexroth ~ MC at Six Gallery, Oct. 7, 1955 Herb Caen ~ coined words using Russian endings for San Francisco newspapers Allen Ginsberg ~ read “Howl” at Six Gallery, Oct. 7, 1955 Lenny Bruce ~ arrested for obscenity at the Jazz Workshop, San Francisco, Oct. 4, 1961 Carol Doda ~ wore Rudi Gernreich’s monokini at the Condor Club William Carlos Williams ~ Allen Ginsberg’s mentor Duncan McNaughton ~ established the Poetics Program at the New College of San Francisco Patrick Marks ~ see text Steve Dickison ~ born in Duluth, Minn. Bill Berkson ~ friend of Frank O’Hara Robert Duncan ~ partner of Jess Jack Spicer ~ co-founder of Six Gallery Helen Adam ~ a Scot Philip Whalen ~ Zen abbot from Oregon Richard Brautigan ~ Aquarius who fished Joanne Kyger ~ born in Vallejo, Calif. Clark Coolidge ~ drummer for Serpent Power Michael McClure ~ read at Six Gallery, Oct. 7, 1955; Libra, from Wichita, Kans. Ginger Rogers ~ movie star Billie Holliday ~ played by Diana Ross in a biopic with Richard Pryor Lester Young ~ from Count Basie’s Orchestra Mal Waldron ~ also played with Charles Mingus Larry Rivers ~ read eulogy at O’Hara’s funeral Philip Guston ~ birth name “Goldstein,” born in Montreal, first language was French Alice Neel ~ Aquarius, portrait painter black-listed as a communist Jean Dubuffet ~ French painter, wine seller Joe Brainard ~ grew up in Tulsa, Okla. -
THE QUESTION of GOD: an Introduction and Sourcebook
THE QUESTION OF GOD This important new text by a well-known author provides a lively and approachable introduction to the six great arguments for the existence of God. Requiring no specialist knowledge of philosophy, an important feature of The Question of God is the inclusion of a wealth of primary sources drawn from both classic and contemporary texts. With its combination of critical analysis and extensive extracts, this book will be particularly attractive to students and teachers of philosophy, religious studies and theology, at school or university level, who are looking for a text that offers a detailed and authoritative account of these famous arguments. • The Ontological Argument (sources: Anselm, Haight, Descartes, Kant, Findlay, Malcolm, Hick) • The Cosmological Argument (sources: Aquinas, Taylor, Hume, Kant) • The Argument from Design (sources: Paley, Hume, Darwin, Dawkins, Ward) • The Argument from Miracles (sources: Hume, Hambourger, Coleman, Flew, Swinburne, Diamond) • The Moral Argument (sources: Plato, Lewis, Kant, Rachels, Martin, Nielsen) • The Pragmatic Argument (sources: Pascal, Gracely, Stich, Penelhum, James, Moore). This user-friendly books also offers: • Revision questions to aid comprehension • Key reading for each chapter and an extensive bibliography • Illustrated biographies of key thinkers and their works • Marginal notes and summaries of arguments. Dr Michael Palmer was formerly a Teaching Fellow at McMaster University and Humbodlt Fellow at Marburg University. He has also taught at Marlborough College and Bristol University, and was for many years Head of the Department of Religion and Philosophy at The Manchester Grammar School. A widely read author, his Moral Problems (1991) has already established itself as a core text in schools and colleges. -
Introductory Notes
Seth McKelvey, [email protected] Dr. Andrew Zawacki University of Georgia The Skeleton Keyhole: Introductory Notes Introductory Notes I am struck by the depth, complexity, and alternative logics present in many contemporary American experimental poetries, though I am also often turned off by the heavy demands they place on the reader. This so-called “experimental poetry” is in reality a wide group of work which hardly fits under a single umbrella of categorization, but shares in common an unavoidable inaccessibility. Obscurity, marginality, and difficulty are necessary to the works and their significance. Yet I still feel drawn to the populist ideals at the foundation of my own poetics. While I am willing to push through the difficult texts, I find it hard to believe that the average reader is willing to devote such time and effort. Most readers would only ever interact with such exhausting poetry through dissemination by academics. It is paradoxical to attempt to define, group, or canonize contemporary experimental poetry, which is centered around decentralization, on the indefinable, and on rejecting any confinements or limitations that could be placed around it in the name of understanding or explication. As Michael Palmer points out, “as soon as you propose a counter-poetics, it immediately becomes official and therefore it isn’t a counter-poetics anymore. It’s an illusion” (Active Boundaries 237). Yet Palmer and his contemporaries are willing to play along with such an illusion, and continue to treat their counter-poetics as if it was some sort of definable, identifiable theory of poetry. Perhaps because it is only through this limiting, restraining approach to such a poetics that one can begin any study or investigation of such an un- understandable poetics, however tainted or defiled such a study might be. -
Nick Selby I in Talking About Transatlantic Influences In
TNEGOTIATIONSRANSATLANTIC INFLUENCE 1, MARCH 2011 69 TRANSATLANTIC INFLUENCE: SOME PATTERNS IN CONTEMPORARY POETRY Nick Selby I In talking about transatlantic influences in contemporary American poetry, this essay finds itself exploring a double-edged condition. As part of such a double-edged condition, the idea of influence is about power-relations (between texts, between poetics, between nations) and, in the ways that this essay is framing it, the idea of poetic influence across the Atlantic is about senses of possession: possession of, and by, something other. My title promises ‘some patterns in contemporary poetry’. But any patterns that emerge in this essay will be neither as orderly nor as clear-cut as this title might imply. What the essay is seeking to do is to trace some ideas and themes that might develop from a consideration of influence in terms of a transatlantic poetics: the essay’s first half examines the work of two British poets – Ric Caddel and Harriet Tarlo – whose work seems unthinkable without the influence of post-war American poetics upon it; and in its second half the essay thinks through three American poets – Robert Duncan, Michael Palmer and Susan Howe – whose work specifically engages the idea of influence in its debating of issues of the textual, the bodily and the poem’s culpability (and influence) within structures of political power. The idea of influence might be seen to be marked in, I think, three ways in the work of these poets. First, is the idea of direct influence – where one poet acknowledges the influence of another poet upon her / him: an example of which might be Ezra Pound’s petulant acknowledgment of Whitman as a ‘pig-headed father’ (and which is the sort of agonistic view of influence espoused by Harold Bloom in his The Anxiety of Influence);1 or, perhaps, in Michael Palmer’s interest in writing poetry out of his contact with and reading of other poets – Celan, Zanzotto, Dante, Robert Duncan (and many others). -
235-Newsletter.Pdf
The Poetry Project Newsletter Editor: Paul Foster Johnson Design: Lewis Rawlings Distribution: Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710 The Poetry Project, Ltd. Staff Artistic Director: Stacy Szymaszek Program Coordinator: Arlo Quint Program Assistant: Nicole Wallace Monday Night Coordinator: Simone White Monday Night Talk Series Coordinator: Corrine Fitzpatrick Wednesday Night Coordinator: Stacy Szymaszek Friday Night Coordinator: Matt Longabucco Sound Technician: David Vogen Videographer: Andrea Cruz Bookkeeper: Lezlie Hall Archivist: Will Edmiston Box Office: Aria Boutet, Courtney Frederick, Gabriella Mattis Interns/Volunteers: Mel Elberg, Phoebe Lifton, Jasmine An, Davy Knittle, Olivia Grayson, Catherine Vail, Kate Nichols, Jim Behrle, Douglas Rothschild Volunteer Development Committee Members: Stephanie Gray, Susan Landers Board of Directors: Gillian McCain (President), John S. Hall (Vice-President), Jonathan Morrill (Treasurer), Jo Ann Wasserman (Secretary), Carol Overby, Camille Rankine, Kimberly Lyons, Todd Colby, Ted Greenwald, Erica Hunt, Elinor Nauen, Evelyn Reilly and Edwin Torres Friends Committee: Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Steve Hamilton, Bob Holman, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Patricia Spears Jones, Eileen Myles, Greg Masters, Ron Padgett, Paul Slovak, Michel de Konkoly Thege, Anne Waldman, Hal Willner, John Yau Funders: The Poetry Project’s programs and publications are made possible, in part, with public funds from The National Endowment for the Arts. The Poetry Project’s programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Poetry Project’s programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. -
Philip Whalen Papers, Circa 1923-2002 (Bulk 1960-1997)
http://oac.cdlib.org/findaid/ark:/13030/kt2199q0t9 Online items available Finding Aid to the Philip Whalen Papers, circa 1923-2002 (bulk 1960-1997) Processed by Dean Smith. The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ © 2003 The Regents of the University of California. All rights reserved. Finding Aid to the Philip Whalen BANC MSS 2000/93 p 1 Papers, circa 1923-2002 (bulk 1960-1997) Finding Aid to the Philip Whalen Papers, circa 1923-2002 (bulk 1960-1997) Collection number: BANC MSS 2000/93 p The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ Finding Aid Author(s): Processed by Dean Smith. Date Completed: 2002 June Finding Aid Encoded By: GenX © 2014 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Philip Whalen papers Date (inclusive): circa 1923-2002 Date (bulk): 1960-1997 Collection Number: BANC MSS 2000/93 p Creator: Whalen, Philip Extent: 2 cartons, 36 boxes, 11 oversize folders, 3 oversize boxes, and 1 tubecirca 30 linear feet4 digital objects (5 images) Repository: The Bancroft Library. University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ Abstract: The Philip Whalen Papers, circa 1940-2001, consist of the writings (notebooks, poems, prose works), correspondence, professional papers, artwork and personal papers that detail Whalen’s dual life as poet (coming to prominence during San Francisco’s Beat era of the 50’s and often associated with his fellow Reed graduates, Gary Snyder and Lew Welch), and later, Buddhist monk. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Patterns of Exchange: Translation, Periodicals and the Poetry Reading in Contemporary French and American Poetry Permalink https://escholarship.org/uc/item/2kb1h96x Author Smith, Matthew Bingham Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Patterns of Exchange: Translation, Periodicals and the Poetry Reading in Contemporary French and American Poetry By Matthew Bingham Smith A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in French in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Lucey, Chair Professor Mairi McLaughlin Professor Ann Smock Professor Lyn Hejinian Summer 2015 Abstract Patterns of Exchange: Translation, Periodicals and the Poetry Reading in Contemporary French and American Poetry by Matthew Bingham Smith Doctor of Philosophy in French University of California, Berkeley Professor Michael Lucey, Chair My dissertation offers a transnational perspective on the lively dialogue between French and American poetry since the 1970s. Focusing on the institutions and practices that mediate this exchange, I show how American and French poets take up, challenge or respond to shifts in the poetic field tied to new cross-cultural networks of circulation. In so doing, I also demonstrate how poets imagine and realize a diverse set of competing publics. This work is divided into three chapters. After analyzing in my introduction the web of poets and institutions that have enabled and sustained this exchange, I show in my first chapter how collaborations between writers and translators have greatly impacted recent poetry in a case study of two American works: Andrew Zawack’s Georgia (2009) and Bill Luoma’s My Trip to New York City (1994). -
Keats, Vendler, Adorno, and the Theory of the Avant-Garde Author(S): Robert Kaufman Source: Critical Inquiry, Vol
Negatively Capable Dialectics: Keats, Vendler, Adorno, and the Theory of the Avant-Garde Author(s): Robert Kaufman Source: Critical Inquiry, Vol. 27, No. 2 (Winter, 2001), pp. 354-384 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/1344254 . Accessed: 28/03/2011 22:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=ucpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org Negatively Capable Dialectics: Keats, Vendler, Adorno, and the Theory of the Avant-Garde Robert Kaufman Frankfurt school aesthetics has never quite fallen off the literary-cultural map; yet as with other areas of what currently goes by the name theory, interest in this body of work has known its surges and dormancies. -
Imc Robert Creeley
^IMC ROBERT CREELEY: A WRITING BIOGRAPHY AND INVENTORY by GERALDINE MARY NOVIK B.A., University of British Columbia, 1966 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA February, 1973 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ENGLISH The University of British Columbia Vancouver 8, Canada Date February 7, 1973 ABSTRACT Now, in 1973, it is possible to say that Robert Creeley is a major American poet. The Inventory of works by and about Creeley which comprises more than half of this dissertation documents the publication process that brought him to this stature. The companion Writing Biography establishes Creeley additionally as the key impulse in the new American writing movement that found its first outlet in Origin, Black Mountain Review, Divers Books, Jargon Books, and other alternative little magazines and presses in the fifties. After the second world war a new generation of writers began to define themselves in opposition to the New Criticism and academic poetry then prevalent and in support of Pound and Williams, and as these writers started to appear in tentative little magazines a further definition took place. -
Roots and Routes Poetics at New College of California
Roots and Routes Poetics at New College of California Edited by Patrick James Dunagan Marina Lazzara Nicholas James Whittington Series in Creative Writing Studies Copyright © 2020 by the authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Creative Writing Studies Library of Congress Control Number: 2020935054 ISBN: 978-1-62273-800-7 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image by Max Kirkeberg, diva.sfsu.edu/collections/kirkeberg/bundles/231645 All individual works herein are used with permission, copyright owned by their authors. Selections from "Basic Elements of Poetry: Lecture Notes from Robert Duncan Class at New College of California," Robert Duncan are © the Jess Collins Trust. -
Small Press Poetry Collection
Small Press Poetry Collection Alphabetical by press UPDATED MARCH 2019 Numbers 20 Pages 1204. Bernstein, Charles and Susan Bee. The nude formalism. Los Angeles: 20 Pages 1989. 811 Books 998. Corless-Smith, Martin. of the Universe The way things are On the Nature of things The Nature of and being by Lucretius: Incorporating marginalia. [Phoenix, Arizona]: 811 Books [1999] A Aard Press 541. Aaboe, Ruth. Zyzh. London: Aard Press 1978. Abbeygate Books 1339. Cooke, David. On the front. Grimsby: Abbeygate Books 2009. 1340. Cooke, David. Bruegel’s dancers. Grimsby: Abbeygate Books 2009. Acadia Press 484. Adam, Helen. Ballads. Illustrated by Jess. New York: Acadia Press 1964. Active in Airtime 1206. Hawkins, Ralph. Pelt. Brightlingsea, Essex: Active in Airtime 2002. 1219. Hawkins, Ralph. Writ. Colchester: Active in Airtime 1993. Actual Size Press 734. Raworth, Tom. Heavy light. New York: Actual Size Press [1984]. 947. Muckle, John and Ian Davidson. It is now as it was then. London: MICA in association with Actual Size 1983. 1228. De Wit, Johan. Rose poems. [London]: Actual Size 1986. Adam McKeown 1375. Intimacy. Edited by Adam McKeown. Maidstone, Kent: Adam McKeown 1992–1998. Volumes 1–3, 5. Adrian Blamires 1358. Blamires, Adrian. Eliza’s entertainments. [Reading: The Author 2015] Adventures in Poetry 100. O’Hara, Frank. Belgrade, November 19, 1963. New York City: Adventures in Poetry [1972 or 1973] 911. Bernheimer, Alan. The Spoonlight Institute. Princeton NJ: Adventures in Poetry 2009. Afterdays Press 1319. Hullah, Paul and Susan Mowatt. Unquenched. [Edinburgh]: Afterdays Press 2002. Aggie Weston’s 201. Mills, Stuart. ‘There is nothing outside the text’. -
Bernadette Mayer Papers
http://oac.cdlib.org/findaid/ark:/13030/tf0199n71x No online items Bernadette Mayer Papers Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2019 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html Bernadette Mayer Papers MSS 0420 1 Descriptive Summary Languages: English Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: Bernadette Mayer Papers Identifier/Call Number: MSS 0420 Physical Description: 30.0 Linear feet(70 archives boxes, 1 card file box and 7 oversize file folders) Date (inclusive): 1958-2017 Abstract: Papers of Bernadette Mayer, writer, teacher, editor, and publisher. Most often associated with the New York School, Mayer uses compositional methods such as chance operations, collage and cut-up. Materials include correspondence with writers, artists, publishers, and friends; manuscripts and typescripts; notebooks and loose notes; teaching notes; audio recordings and photographs; and biographical materials such as calendars, datebooks and ephemera. Scope and Content of Collection The Bernadette Mayer Papers document Mayer's career as a writer and teacher and, to a lesser extent, her career as a publisher and editor. Additionally, the papers reflect the broader community of artists and writers known as the New York School. Materials include correspondence from writers, artists, publishers, and friends; notebooks and loose notes; manuscripts and typescripts of Mayer's works; teaching notes; audio recordings and photographs; and biographical materials such as calendars, datebooks and ephemera. Accession Processed in 1998 Arranged in eleven series: 1) BIOGRAPHICAL MATERIAL, 2) CORRESPONDENCE, 3) WRITINGS, 4) NOTEBOOKS, 5) WRITINGS OF OTHERS, 6) TEACHING MATERIAL, 7) EDITING MATERIAL, 8) EPHEMERA, 9) PHOTOGRAPHS, 10) SOUND RECORDINGS, and 11) ORIGINALS OF PRESERVATION PHOTOCOPIES.