dinner + movie Dropping the directorfancy stuff sally potter grows up _by peter Keough p 27 april 5–11, 2013 | portland’s news + arts + entertainment authority | Free HuMAN jukEbOx? The perils of taking requests at live gigs _by sam pfeifle | p 8 SCENES FROM ROMANCES pOliquiN HiSTORy THEATER John Cariani’s Love/Sick at PSC | p 14 !He could three-peat | p 6 121 CENTER ST. | PORTLAND, ME 04102 | 207.772.8274 PHIL CD RELEASE SHOW VASSAR SATURDAY, APRIL 27 THURSDAY, MAY 2 121 CENTER ST. | PORTLAND, ME 04102 | 207.772.8274 THURS. MAY 2 TICKETS ON SALE NOW AT WWW.TICKETWEB.COM & LOCALLY AT THE ASYLUM BOX Office • 18+ SHOW THURSDAY, MAY 9 FRIDAY, MAY 10 TICKETS AVAILABLE AT PORTLANDASYLUM.COM & TICKETWEB.COM Lois Dodd Catching the Light Immerse yourself in color: Through April 7 1971, oil on linen, 53 1/2 x 36 inches. Portland Museum of Art, 1971, oil on linen, 53 1/2 x 36 inches. Portland “... marvelous show” —Roberta Smith, The New York Times Self-Portrait in Green Window, in Green Self-Portrait Lois Dodd, Lois the Contemporary in memory Maine. Museum purchase with support from Art Fund, of Bernice Portland, 2000.1 McIlhenny Wintersteen, (207) 775-6148 | portlandmuseum.org This exhibition was organized by the Kemper Museum of Contemporary Art, Kansas City, Missouri. Media Sponsors: THE PoRTLANd PHoENIx | APRIL 5, 2013 3 FouSINCENd 1966Ed IN 1999 weekNIGHTS April 5, 2013 | Vol xV, No 14 monday / THE PLAYERS’ BALL ON tHe COVeR F Photo IllustratIon by janet smIth taylor tuesday / COVER TO COVER wednesday / RAP NIGHT p 14 thursday / JAMS w/BBD weekENDS 4.5 / ANNA & THE DIGGS 4.6 / PETE KILPATRICK BAND p 27 4.12 / DIRTY WHITE HATS UPCOMING EVENTS 4.13 / PARANOID SOCIAL CLUB Thur. LOCAL LAUGHS - FREE 4.19 / THE BREW APR 4 HOSTED BY BRETT GROH FROM WBLM & WCCY / 18+ 4.20 / MODEL AIRPLANE Sat. 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Kristin Anderson classic remixes Reworking Pulitzer masterpieces They are some of our literary favorites: Richard counter them fRusso’s Empire Falls, John Kennedy Toole’s A Confed- on the page.” eracy of Dunces, Margaret Mitchell’s Gone With the Wind, E. Another, loos- Annie Proulx’s The Shipping News. They are winners of the er method is to Pulitzer Prize in Fiction, and this month (along with simply make the other tomes on that illustrious list) they will serve note of inter- as fodder for Pulitzer Remix, an online initiative spon- esting words sored by the Found Poetry Review journal as part of National or phrases Poetry Month. while reading Eighty-five poets from across the country are involved; and then rear- each of them was assigned one Pulitzer-winning novel range those in to work with during the month of April. They are tasked a structured or with posting one poem per day, its language scavenged experimental from their assigned books. The result will be about 2500 form. “found poems,” described at pulitzerremix.com as “the “It might literary equivalents of collages, where words, phrases seem like and lines from existing texts are refashioned into new a simple task, to pick and choose poems.” words from a given text, paste them According to Found Poetry Review editor and Pulitzer Re- together, and call it a poem,” says E. mix organizer Jenni Baker, who discovered the genre in Kristin Anderson, a Westbrook native graduate school and wrote her first found poem “using who currently lives in Austin and is words on a box of teeth whitening strips,” found poets participating in the project (she’s riff- typically start their explorations with a short section ing on the 2011 winner, A Visit from the or passage. “They then black or white out lines of the Goon Squad by Jennifer Egan). “But in text, leaving only single words and short phrases visible order to create a poem, no matter your which form a poem when read consecutively down and method, you have to say something. across the pages. This type of writing is more constrained There has to be a story there. And when because you’re forced to work with the words as you en- you’re working with a limited palette — which is how I view found poetry — you have to find a new story within someone else’s text.” The uninitiated may wonder whether this sort of cre- ative pursuit transgresses copyright or intellectual prop- erty boundaries. But enthusiasts maintain that publish- Idiot Box _by Matt Bors ing found poetry falls under fair use standards: “a poet may make use of quotations from existing poetry, liter- ary prose, and non-literary material, if these quotations are re-presented in poetic forms that add value through significant imaginative or intellectual transformation.” “The biggest misconception about found poetry I hear a lot is that it’s plagiarism,” Baker says. “People don’t understand the process that goes into creating it — they think found poets open up a book, pull out a nice para- graph, add a few line breaks and call it their own poem. They don’t understand that the best found poets excerpt just single words or short phrases and spend a significant amount of time reworking them into a new piece whose meaning differs from the original.” Which, in turn, can lead to a greater understanding or appreciation for the original work, even — or especial- ly — for Pulitzer-winning classics like To Kill A Mockingbird or American Pastoral. “For me, the biggest joy in writing found poetry is that you get to approach a text in a new way,” Baker says. “Usually, we read because we have to (for school) or because we’re compelled forward by an interesting story. Rarely do we stop and look at the way language is used or the way sentences are structured. Found poetry gives writers the chance to break open a text and delve beyond just the superficial storyline to the conventions and word choices it’s composed of. And it’s fun because you never know what you’re going to find! You might find a love poem in an astronomy textbook or a war commentary piece in Jane Austen.” _Deirdre Fulton Visit pulitzerremix.com for new poems throughout the month of April.