DOCSLIB.ORG

A Case Study of Tracie Morris's Project Princess Tammie Jenkins Louisiana State University and Agricultural and Mechanical College

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Case Study of Tracie Morris's Project Princess Tammie Jenkins Louisiana State University and Agricultural and Mechanical College Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A case study of Tracie Morris's Project Princess Tammie Jenkins Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Jenkins, Tammie, "A case study of Tracie Morris's Project Princess" (2014). LSU Doctoral Dissertations. 79. https://digitalcommons.lsu.edu/gradschool_dissertations/79 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A CASE STUDY OF TRACIE MORRIS’S PROJECT PRINCESS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Education by Tammie Jenkins B.S., Southern University, 1992 M.A., Southern University, 2007 May 2014 Copyright©2013 Tammie Jenkins All rights reserved ii This is dedicated to my parents Mrs. Valerie Brown Jenkins and the late Mr. Lionel Jenkins Sr. (August 2, 1945 – September 11, 2000) who took the time to instill morals, values, and the love of learning in me at a very young age. iii ACKNOWLEDGEMENTS I am immensely appreciative of everyone who shared their knowledge with me throughout this academic voyage. With extreme gratitude and esteem I thank my major professor, Dr. Denise Egea, for her wisdom, patience, support, and personalized mentoring throughout my journey. I am thankful to my committee members for sharing their expertise with me every step of the way. I thank you Dr. Jacqueline Bach for your words of comfort and encouragement. I want to thank you Dr. Susan Weinstein for providing me with references and resources as well as sharing your insight into the world of slam poetry. I wish to thank you Dr. Roland Mitchell for your encouragement to choose a topic that was close to my heart and bring it to the world through my writing. I also want to thank you Dr. John Fletcher for being the Graduate School’s Representative and for sharing your knowledge regarding the relationship of spoken word poetry to performance studies. There are not enough words in the English language to express my joy and appreciation for working with and learning from each one of you. I wish to offer a special “thank you” to Dr. Tracie Morris for allowing me to use her poem Project Princess (1998) as a case study for my dissertation and for corresponding with me. I want to thank my sons Keithan and Darryl for cheering me up and in some cases consoling me in my moments of distress. Had it not been for the two of you, I probably would have given up on completing this journey. I wish to thank my children’s father, Darryl, as well as the rest of my family and friends for their understanding and support throughout my years in graduate school. Finally, I wish to thank my alternative support system, Dr. Kenneth Fashing- Varner, Mr. Marvin Broome, Mrs. Sharal Brown, Yvette Perry-Hyde, Dr. Heather Johnston- Durham, Berlisha Morton, Dr. Jessica Exkano, and Dr. Angelle LeBlanc Hebert for serving as iv sounding boards for my thoughts and ideas as well as supporting me through my emotional melt- downs and epiphanies. v TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................ iv ABSTRACT ........................................................................................................................ x CHAPTER ONE: INTRODUCTION SOUL SEARCHING FOR CHIMERAS IN MYSELF THROUGH OTHERS CONTEXT: A PERSONAL JOURNEY ............................................................................ 1 Spoken Word Poetry is Not Page Poetry, Performance Poetry, or Slam Poetry ................ 8 Conceptual Framework: Establishing Boundaries .............................................................. 11 Intertextuality .......................................................................................................... 11 Public Pedagogy...................................................................................................... 13 Performance Studies ............................................................................................... 16 Narrative Inquiry: Connecting Methodology to Conceptual Framework ........................... 19 Statement of the Problem .................................................................................................... 22 Research Questions and Purpose/Significance of the Current Study ................................. 22 Summary ............................................................................................................................. 23 Chapters Outline ................................................................................................................. 24 Definition of Key Terms ..................................................................................................... 25 CHAPTER TWO: LITERATURE REVIEW PAYING HOMAGE, BOWING DOWN, AND RISING FROM THE ASHES ............... 29 Methodology ....................................................................................................................... 31 A Genealogy of Spoken Word Poetry ................................................................................ 32 African Oral Tradition ............................................................................................ 33 Harlem Renaissance ................................................................................................ 38 Jazz Poetry .............................................................................................................. 45 Blues ....................................................................................................................... 49 Black Arts Movement and “Black Aesthetic” ........................................................ 56 Hip-hop ................................................................................................................... 62 Spoken Word Poetry: Pedagogy, Pop Culture, and Education ........................................... 70 Rationale for the Current Study .......................................................................................... 78 Summary ............................................................................................................................. 79 CHAPTER THREE: METHODOLOGY COUNTER-NARRATIVES, DADA POETICS, AND STORYTELLING ....................... 81 Restatement of the Problem ................................................................................................ 81 Research Questions ............................................................................................................. 81 Context: Tracie Morris and Project Princess ..................................................................... 82 The Author: Tracie Morris ...................................................................................... 82 Case Study: Morris’s Project Princess ................................................................... 85 Page Poetry Version .................................................................................... 85 Oral Performance Version .......................................................................... 86 Data Sources ....................................................................................................................... 87 Page Poetry ............................................................................................................. 88 vi Video and its Transcription ..................................................................................... 88 Audio Interview and its Transcription .................................................................... 89 Essays ...................................................................................................................... 90 Website ................................................................................................................... 91 Overall Procedures for Data Collection .............................................................................. 92 Research Design: Narrative Inquiry.................................................................................... 94 Data Analysis ...................................................................................................................... 97 Structural Analysis .................................................................................................. 98 Thematic Analysis .................................................................................................. 99 Dialogic/Performance Analysis .............................................................................. 100 Visual Analysis ....................................................................................................... 102 Ethical Considerations ........................................................................................................ 103 Strengthening My Study with Rigor, Triangulation, and Crystallization ........................... 105 Rigor ......................................................................................................................
Load more

Recommended publications
  • Network Map of Knowledge And
    Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W.
    [Show full text]
  • INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
    INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161).
    [Show full text]
  • B Barg Creative Resume
    Barbara Barg Chicago,IL. [email protected] Writing Books The Origin of THE Species (Semiotext(e) ) Distributed by Massachusetts Institute of Technology (MIT) Press Back cover photograph by Robert Mapplethorpe Obeying the Chemicals (Hard Press); Photographs by Nan Goldin Anthologies American Poets Say Goodbye to the 20th Century (Four Walls Eight Windows) Edited by Andrei Cordrescu and Laura Rosenthal Poems for the Nation: A Collection of Contemporary Political Poems (Seven Stories Press) Edited by Allen Ginsberg with Andy Clausen and Eliot Katz AM LIT: Neue Literatur Aus Den USA (Edition Druckhaus / Germany) Edited by Gerard Falkner and Sylvere Lotringer Out of This World: The Poetry Project at St Mark's Church-in-the-Bowery; 1966-1991 (Crown Publisher, Inc) Edited by Anne Waldman, forward by Allen Ginsberg The L=A=N=G=U=A=G=E Book (Southern Illinois University Press) Edited by Charles Bernstein and Bruce Andrews Screenplays Nothing for You Spirit Photographer Self-Made Boy Gun Control Written with Andrea Kirsch for Jump Room Films, Independent Production Company in Paris Exhibition Catalog Essay for Barbara Ess’s photography exhibit I Am Not This Body The Curtis Marcus Gallery (New York City) Barbara Barg!Page 1 Teaching Pulse Poem Pulse (Chicago School of Poetics) Class focusing on rhythm, tone, voice, texture (ongoing) Writing/Oral History Oral history interviews/writing workshop for parents Chicago Arts Partnership In Education/Victor Herbert Elementary School Jesl Cruz, teacher/Arnie Aprill, Director of CAPE Chicago, IL Voluntary
    [Show full text]
  • June 2020 Volume 87 / Number 6
    JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]
  • 2019 Nov 6-10
    PROUDLY PRESENTS 2019 Canadian Jazz Festival Nov 6-10 www.jazzyyc.com Instagram @jazz_yyc Twitter @Jazz_YYC Facebook @JazzYYC JAZZYYC Canadian Festival JazzYYC Canadian PRESIDENT’S MESSAGE Festival Team Welcome to the 6th edition of the JazzYYC Canadian Artistic Producer Festival! JazzYYC is pleased to present our most diverse Kodi Hutchinson fall program yet, made possible by our growing base Operations of sponsors, donors and members, and supported Jason Valleau by our wonderful JazzYYC volunteers. Special thanks Operations Coordinator go to the Alberta Foundation for the Arts, Calgary Arts Lucy Pasternak Development, Canada Council for the Arts, TD, Inglewood Marketing & Publicity BIA and the Calgary Public Library. BLP Arts Marketing JazzYYC strives to bring Calgary audiences the best of jazz in all of its forms so that we Social Media can build a vibrant scene in this city. Likewise, it’s our pleasure to provide a stage for Angela Wrigley, Mandy Morris the next generation of jazz artists honing their skills in the JazzYYC Youth Lab Band. As Website & Newsletter Management always, the festival brings Music Mile alive on Sunday afternoon when JazzWalk brings Ty Bohnet live jazz to the shops, restaurants and Brew pubs in Inglewood and this year we are Creative Director excited to include the Central Library in our JazzWalk series. Sharie Hunter Production Coordinator Your support as audience, through our membership program, donors, sponsors and Steven Fletcher volunteers keeps the spirit and sound of jazz alive and growing in Calgary! JazzYYC Board Gerry Hebert of Directors President, JazzYYC Gerry Hebert - President ARTISTIC PRODUCER’S MESSAGE Ken Hanley - Vice President Welcome to our annual JazzYYC Canadian Festival! Malcolm McKay - Treasurer Starting out as a small group of community events Shannon Matthyssen - Secretary back in 2012, it has been wonderful being a part of the Debra Rasmussen - Past President evolution of this Festival.
    [Show full text]
  • (POETRY MANUSCRIPT) by JEFF NEWBERRY
    TRANSPOSING THE TRADITION: JAZZ, LYRIC POETRY, AND THE INDIVIDUAL TALENT & BRACKISH (POETRY MANUSCRIPT) by JEFF NEWBERRY (Under the Direction of Edward Pavlić) ABSTRACT Brackish is a collection of poems preceded by the critical introduction, “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent.” Brackish explores the writer’s experiences coming of age on the coast of Northwest Florida, using brackish water as its central metaphor. Neither fresh nor salty, brackish water is a mixture of both. It retains elements of salt water and fresh water and finds identity in the fact that it is neither. The lyric voice in Brackish moves in this way: it is neither a child’s voice nor an adult’s voice, but a voice that stands between those two poles, retaining a child’s sense of discovery and mystery and an adult’s awareness of the larger world. In this way, the poems explore the tenuous gap between innocence and experience. “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent” develops the theory of lyric transposition, a way of understanding jazz-influenced poetry. Like jazz standards, poems often cover familiar territory; and like a jazz musician, a poet develops an individual voice in the context of familiar material. What separates a poem from others on similar subjects or themes is the poet’s voice. Lyric transposition describes the movement from subject matter to the poet’s register, the way that musical transposition describes the movement from a song’s original key to another key, more appropriate for a particular musician. This theoretical perspective frames a discussion and reading of three jazz-influenced works of poetry: Michael S.
    [Show full text]
  • Art, Identity, and Status in UK Poetry Slam
    Oral Tradition, 23/2 (2008): 201-217 (Re)presenting Ourselves: Art, Identity, and Status in U.K. Poetry Slam Helen Gregory Introducing Poetry Slam Poetry slam is a movement, a philosophy, a form, a genre, a game, a community, an educational device, a career path, and a gimmick. It is a multi-faced creature that means many different things to many different people. At its simplest, slam is an oral poetry competition in which poets are expected to perform their own work in front of an audience. They are then scored on the quality of their writing and performance by judges who are typically randomly selected members of the audience. The story of slam reaches across more than two decades and thousands of miles. In 1986, at the helm of “The Chicago Poetry Ensemble,” Marc Smith organized the first official poetry slam at the Green Mill in Chicago under the name of the Uptown Poetry Slam (Heintz 2006; Smith 2004). This weekly event still continues today and the Uptown Poetry Slam has become a place of pilgrimage for slam poets from across the United States and indeed the world. While it parallels poetry in remaining a somewhat marginal activity, slam has arguably become the most successful poetry movement of the late twentieth and early twenty-first centuries. Its popularity is greatest in its home country, where the annual National Poetry Slam (NPS) can attract audiences in the thousands and where it has spawned shows on television and on Broadway. Beyond this, slam has spread across the globe to countries as geographically and culturally diverse as Australia, Singapore, South Africa, Poland, and the U.K.
    [Show full text]
  • João Gilberto
    SEPTEMBER 2019 VOLUME 86 / NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • Ilhifzletter 93024--O24-O May 1992 Vol
    P.O. BOX 24-O Ojai, Calif. ilhifzletter 93024--O24-O May 1992 Vol. 11 Na 5 improvement and ifyou tell us what instrument you play we will Letters be glad to send you a complimentary box of reeds. Aside from the letters meant for publication, I get some I keep this on my humble wall. hilarious mail from my friends. One of these is Julius LaRosa, These cats can’t even get greed right! who is singing better than he ever has but shakes his head in Love, wonderment at the behavior of members of the audience. In Phil Dallas some time ago, a woman walked up to him in a hotel lobby, pinched and pulled his cheek, and said to her girlfriend, "See, I told you it isn’t a face lift." Kenny, Mel, and the Roots qflulie wrote me the other day with a list of remarks he swears e’s heard or overheard recently. Among them: He’s the one who made Arthur Godfrey famous. Benny Golson prepared me for Kenny Washington. Benny You look good for your age. - said, "Unless you’re ready to listen for three hours, don’t ask He looks like himself. him anything about jazz history, especially drums. He’ll start I didn’t recognize you. probably with Baby Dodds and take you up to Tony Williams If you didn’t know it was him, you wouldn’t know it. and beyond." Benny was right. I asked a question or two, and I used to see you on TV. I’m old.
    [Show full text]
  • Wesleyan University Press
    Image: logo: Listing: Imagining Urban Futures: Cities in Science Fiction and What We Might Learn from Them Abbott, Carl Wesleyan University Press . 9780819576712 264 pages hardcover $27.95 Pub Date: 10/7/2016 Author picture: 16 illustrations. What science fiction can teach us about urban planning. CARL ABBOTT is professor emeritus of urban studies and planning at Portland State University. Discount: 0.46 Distro: HFS Group: Wilcher Author location: Portland OR image filename: author pic filename: logo filename: 9780819576712.jpg Abbott, Carl.jpg logo wesleyan u press.jpg Image: logo: Listing: BAX 2016: Best American Experimental Writing Abramson, Seth / Bernstein, Charles / Morris, Tracie / Damiani, Jesse (editors) Wesleyan University Press . 9780819576743 275 pages paperback $19.95 Pub Date: 2/17/2017 Best American Experimental Writing Author picture: An annual anthology of the best new experimental writing. Even includes work by Barack Obama. CHARLES BERNSTEIN is the Donald T. Regan professor of english and comparative literature at the University of Pennsylvania. TRACIE MORRIS is is professor and coordinator of performance and performance studies at Pratt Institute, Brooklyn, New York. SETH ABRAMSON is an assistant professor of english at the University of New Hampshire. JESSE DAMIANI is a former Wisconsin Institute for Creative Writing fellow and current contributing writer for Indiewire and The Huffington Post. Discount: 0.46 Distro: HFS Group: Wilcher Author location: image filename: author pic filename: logo filename: 9780819576743.jpg Abramson, Seth / Bernstein, Charles logo wesleyan u press.jpg Image: logo: Listing: BAX: Best American Experimental Writing 2018 Abramson, Seth / Damiani, Jesse / Kim, Myung Mi (editors) Wesleyan University Press . 9780819578181 360 pages paperback $19.95 Pub Date: 8/7/2018 29 illus., 6 x 9.
    [Show full text]
  • D.A. Levy Lives Ellipsis Press, ND/SA, and Roof Books Authors, Celebrating Renegade Presses and Music from Jason 17Th Annual Trachtenburg
    BLACK SUN LIT 2 DOUBLECROSS PRESS 3 ELLIPSIS PRESS 4 ND/SA 5 BOOG CITY ROOF BOOKS 6 A COMMUNITY NEWSPAPER FROM A GROUP OF ARTISTS AND WRITERS BASED IN AND AROUND NEW YORK CITY’S EAST VILLAGE ISSUE 133 FREE Celebrate Five of the City’s Best Small Presses Inside in Their Own Words and Live Readings from Black Sun Lit, DoubleCross Press, d.a. levy lives Ellipsis Press, ND/SA, and Roof Books authors, celebrating renegade presses and music from Jason 17th Annual Trachtenburg. NYC Small Presses Night Bowery Sun. Dec. 15, 3:00 p.m., $10 Poetry Club 308 Bowery (@ E. 1st St.) Book Fair The East Village Info 212-842-BOOG (2664) [email protected] 3:00-3:30 p.m., 5:30-6:00 p.m. @boogcity BOOG CITY 2 WWW.BOOGCITY.COM from from from [WANTON] Meat Habitats The City is Lush with by Christy Davids by Angela Hume Obstructed Views by Greg Nissan we are taught (re)production a hook shock determines If it is you the social value of female bodies, so in the cortisol Lay and remove the scaffold, It won’t be called making I can secrete with discretion night sign But revision tills the hand warrant only instances Hedonic. It loses its loss of mating and sheer over a door scratching fraction prettiness, perpetual arousal carousel in riotous green DOUBLECROSS PRESS from xxox fm by Joshua Escobar a.k.a. dj ashtrae in the supermarket full of mistakes my dream husband motions muddy socks over his navel i gave my future to him last night from It’s no Good from Everything’s Bad Headlands Quadrats by Stephanie Young by Brian Teare I can’t claim this is a translation of Kirill’s chasing prey a kind translation of Bukowski of looping beauty from or the way Bukowski appears in Kirill’s early Meteorites poems as translated by Keith Gessen back into off-kilter wobbling by S.
    [Show full text]
  • Muñoz Meditation
    Liminalities: A Journal of Performance Studies Vol. 12, No. 3 (2016) Muñoz Meditation Tracie Morris He ghost. Recalling turntables jerry-rigged between street lamps along the East Coast, the articulated mélange of the global and American South, proto-technology of repurposed analogue sounds in scratches of DJs, defined the Queer, colored and experimental communities that became the populist pointillism of Jose Muñoz’s generation. Earlier Hip Hop inflected iterations of leaving an aspect of impermanence, vulnerability and transparency this is a primary verb of minoritarian subjects. The subject of leaving, that came to be the parlance of the “grown folks” we’ve now become, that we’ve been immortalized as, went from “They [he/she/I’m] out of here”/ “outta here”, to “outtie” to “Audi 5000” to “[They, etc.] ghost” to “[They] Swayze, yo.” This one narrative/linear stream from English to some- thing beyond/past conventional English constraints, was blending and (re-) emerging space-time before the unification via the lingua omni of digitized and simultaneous dispersion. From “I’m out of here” to/through “I’m Swayze” is an apt baseline for Jose’s meaningfullness. The reconfiguring of an English phrase to a reference of an actor who’s known as much for playing a disembodied spirit as for playing a Tracie Morris is a poet who has worked as a page-based writer, sound poet, critic, re- cording artist, scholar, bandleader, actor and multimedia performer. She presents her work widely around the world. Her sound installations have been presented at the Whitney Biennial, MoMA, The Philadelphia Museum of Art, Ronald Feldman Gallery, The Silent Barn, The Jamaica Center for Arts and Learning, The Drawing Center, DIA: Chelsea and other galleries and museums.
    [Show full text]