A Plethora of Reading Pleasures!
Larsen, Stein, Donovan, and then a Publication Party for I'll Drown My Book: Conceptual Writing by Women
Larsen, Stein, Donovan, and then a Publication Party for I'll Drown My Book: Conceptual Writing by Women
When: Friday night: 8:30 pm at the California College of the Arts (CCA) Writers’ Lounge; hosted by Michael Cross as a fundraiser for Small Press Traffic
Who: Sara Larsen
Suzanne Stein
New Yorker Thom Donovan
WoW!
Sara Larsen read
from newly published work Merry Hell printed and stitched by the generous,
talented, and new father, Michael Cross and his Compline Press. Sara’s book begins with the following epigram and
dedication:
“morality is water on the brain,” says Rimbaud
for Helen
for the women of the Paris Commune
for Helen
for the women of the Paris Commune
for my friends
Sara prefaced her reading by noting that she had been
thinking about the misogyny of the Helen of Troy stories and also reading about
the women of the Paris Commune, the pétroleuses, so named, a little research
revealed, after the petrol or gasoline these revolutionary women were accused
of using to burn down Paris. In addition, this work is also clearly influenced
by Sara’s own involvement in Occupy Oakland.
I was smitten by this work, the way the threads of three
very specific textual and political environments and discourses open up
capacious, energized and rich possibilities. Here’s a little taste (with apologies for any formatting that blogger prevents!):
to begin ,
author ity is spirit, semen ,
CASH.
as sold as a
jury urn milkroot
of BANK.
I stand
at the banks to conduct their
Dis appea rance
into cruel darkwin thalassa…
i pity yous guys as
candidate for death
in syst ing
thieves
my inno cence
lachrymal & stooped of meat ravishing pearls & yet
it revolt s
buried of clay refuse
sews organ-moss mybodyisabattleground i have no biz
ness here
my
nerves swap
with Helen
Suzanne Stein read next, performing a talk that had three
parts; I think I am right when I say they included exegesis, oration and a
rotation of consciousness. The talk incorporated the audience into the text, as
it interpellated us and articulated and enacted a discomfort with readings generally (Stein does not often read in public). Suzanne noted the way readings entail a
kind of manufactured “bringing of the goods” of the poem to the scene of the
reading. Writing her talk so that she did “not bring the goods,” Suzanne invoked and produced anxiety, discomfort,
interestingly released when she turned our attention to the body. As a yoga or
meditation teacher might lead participants to focus on specific areas—now focus on your elbow, the muscles around the elbow, etc.,--Stein
encouraged us to close our eyes or to look at her as she directed our attention
to our bones, our muscles, our spines.
Her talk also included a rich net of references to Simonides, Giordano
Bruno, Frances Yates, Giulio Camillo’s Theater of Memory, and more.
Here’s a bit from Suzanne’s new book Tout Va Bien from Displaced
Press:
from FUGITIVE STATE
ALL THINGS BEING FRUGAL, STOP THE WAR
ALL THINGS BEING FRUGAL, STOP THE WAR
It’s fictive
of Course, but the thing was live and had its purpose, including unfolding time
which unfolds in time
of Course, but the thing was live and had its purpose, including unfolding time
which unfolds in time
but Destination recedes, is fugitive.
As all Else predicated on an absence of Representation We’re
moneyless equal in scale to memory.
As in forgetting, the Rain’s realness is an illusion.
moneyless equal in scale to memory.
As in forgetting, the Rain’s realness is an illusion.
Separation’s inevitable thus reflect on the usefulness of
Civil wars and the neces-
sity of violent uninterventionist death.
sity of violent uninterventionist death.
To destroy thoughtlessly’s irresponsible.
to destruct with intention is satisfactory and accountable.
Where does it hurt? (35)
to destruct with intention is satisfactory and accountable.
Where does it hurt? (35)
Last, but certainly not least, was the always lovely and
ever productive Thom Donovan, reading in part, from another new Compline Press
book, complete with its own little burlap bag, The Hegemon Say, after Theresa
Hak Kyung Cha.
Here’s a bit:
Mouth to hand
What remains from nostos
Surfeit like surfaces
Flash exilic
What remains from nostos
Surfeit like surfaces
Flash exilic
Hand in mouth
Mothers in excess
Recessed like
This shore just moved
Mothers in excess
Recessed like
This shore just moved
Tongue in hand
Those sayings we say
To sooth not smooth
Tautology over
Those sayings we say
To sooth not smooth
Tautology over
In flame these sayings
What they say
Have struck
Mark of the mouth
What they say
Have struck
Mark of the mouth
And here’s a small section from Thom’s new book from
Displaced Press, The Hole.
The Hole
We are living whenever
In a scholastic bunker
The question what we are
Doing fills our lungs
In a scholastic bunker
The question what we are
Doing fills our lungs
The invented world
And the remains
Of the earth no longer
Being of the world
And the remains
Of the earth no longer
Being of the world
I try to fill myself
Up with may and not
Can I try to fill these
terrestrial voids with me
Up with may and not
Can I try to fill these
terrestrial voids with me
So locate where we are
What commons flitting
Sings late enclosures
No theory will invent (55)
What commons flitting
Sings late enclosures
No theory will invent (55)
There is a lot going on with The Hole as a book. By
including correspondence with friends and via other forms of address, the book
queries, opens up the concept of the book, asking as Donovan writes, “How could
the book reflect a form of collective reception, if not a truly distributed authorship?”
(83). Thus, the book includes responses from CA Conrad, Judith Goldman, Brenda
Iijima, Rob Halpern, David Buuck, Andrew
Levy, Robert Kocik, Eleni Stecopoulos, Etal Adnan, Jane Sprague, Jocelyn
Saidenberg, Stephen Collis, Tyrone Williams, Dorothea Lasky, Dana Ward.
********************************************
Fast Forward to Sunday afternoon, September 16th, at the Artists Television
Access(ATA) space on Valencia in San Francisco and Small Press Traffic hosted an
event celebrating the publication of I’ll Drown My Book: Conceptual Writing by
Women, edited by Caroline Bergvall, Laynie Browne,
Teresa Carmody, and Vanessa Place, and published by Les Figues Press.
Vanessa Place presided over this event, introducing it by reading her
Afterward.
Here’s an excerpt:
I have previously identified many forms of conceptualism,
ranging from pure to the baroque. These are matters of form. I have come to
consider conceptualism, qua
conceptualism, that is, as writing that does not self-interpret, is not
self-reflexive, at least not on the page. In other words, writing in which the
content does not dictate the content; what appears on the surface of the page
is pure textual materiality, no more (and often much less) than what you see on
the surface of the page. Conversely, in the way of positive and negative space,
conceptualism is also writing in which the context is the primary locus of
meaning-making. I have written elsewhere that all conceptualism is allegorical,
that is to say, its textual surface (or content) may or may not contain a kind
of significance, but this surface significance (or content) is deployed against
or within an extra-textual narrative (or contextual content) that is the work’s
larger (an infinitely mutable) meaning. The white cube is only a white cube, the
thin spindly thing a thin spindly thing. The thin spindly thing, however, may
well be the tail of the elephant, which leads to the elephant’s tale. As
Schopenhauer noted, Kant would have been better off had he explicitly denied
objective existence to the thing-in-itself. In other words, it is better to
begin conceptualization with that which lies within one’s own perceived
experience. In other words, l’éléphant n’existe pas
(446-447).
Accompanied by the discrepant (Dodie even stopped reading at one point to comment on it) rag time piano music coming from a place that shares a wall with ATA, each of the following readers read for three minutes and
then read for another three from the work of a writer not present
indicated by parentheses below:
Dodie Bellamy (Kathy
Acker)
Norma Cole (Chus Pato)
Jennifer Karmin (Hannah Weiner)
Laura Moriarty (read by Samantha Giles) (Tina Darragh)
Yedda Morrison (Kim Rosenfield)
kathryn pringle (Stacy Doris & Lisa Roberston)
Frances Richard (Theresa Hak Kyung Cha)
Giovanni Singleton (Anne Tardos)
Juliana Spahr (Inger Christensen)
Christine Wertheim (Jen Bervin & Cia Rinne)
Norma Cole (Chus Pato)
Jennifer Karmin (Hannah Weiner)
Laura Moriarty (read by Samantha Giles) (Tina Darragh)
Yedda Morrison (Kim Rosenfield)
kathryn pringle (Stacy Doris & Lisa Roberston)
Frances Richard (Theresa Hak Kyung Cha)
Giovanni Singleton (Anne Tardos)
Juliana Spahr (Inger Christensen)
Christine Wertheim (Jen Bervin & Cia Rinne)
ATA, like CCA on Friday night, was packed. It was a pleasure
to hear so many voices and a range of work. Perhaps my favorite was when
Jennifer Karmin passed out note-cards with questions on them and invited the
audience to participate as she and Dana Teen Lomax and we the audience read
from a Hannah Weiner poem. It was a fabulous strategy for rendering Weiner’s writing on
the page into the audible and cacophonous chorus of overlapping voices.
Giovanni Singleton’s “untitled (bird cage)” also struck me as of late I’ve been
thinking about birds, bird calls, Charlie Parker, and the “capturing” of bird
calls/songs by professional and amateur ornithologists. This summer, Jonathan Skinner
introduced me to the Macaulay Library which has a whole collection of natural
sound recordings. You can check it out here: http://macaulaylibrary.org/
Giovanni’s performance of this piece traveled from its
presentation in I’ll Drown My Book as a visual poem and a poetic statement
about it, and so it is impossible to reflect it as it was performed, but here’s
a small portion from her statement:
This work has the life and music of jazz saxophonist Charlie
“Bird” Parker as its soundtrack. It is also a response to and dialogue with
Paul Laurence Dunbar’s (1872-1906) poem ‘Sympathy’:
I know why the caged bird sings, ah me,
When his wing is bruised and his bosom sore,
When he beats his bars and hw would be free;
When his wing is bruised and his bosom sore,
When he beats his bars and hw would be free;
Dunbar’s poem also provided the title of the first volume in
Maya Angelou’s series of autobiographies as well as her own poem of the same
title:
The caged bird sings with a fearful trill
of things unknown but longed for still
and his tune is heard on the distant hill
for the caged bird sings of freedom.
of things unknown but longed for still
and his tune is heard on the distant hill
for the caged bird sings of freedom.
The poems seek to posit the question of the source of
imprisonment. Is it the bird or is it the bars of the cage? The three-dimensionality
[of Singleton’s visual poem] also creates spaces between the bars. Is escape
then possible? Who or what is jailed and who or what is the jailor? It perhaps
is a matter of perception (202-203).
The videographer Kush came to this event with his aged mother
who has, I believe, dementia. I would imagine that for out-of-towners, it is
disconcerting or at the very least, confusing when an audience member begins to
comment on or register a variety of sounds during readings. I think that Kevin
Killian might have provided the 4-1-1 on the situation to Christine Wertheim
before she got up and closed the reading with her powerful performance of her own and Jen
Bervin’s and Cia Rinne’s work. I can’t quite explain why, but somehow, at this
particular event, perhaps as at Poets Theater events, Kush’s mother’s participation proved part of
the conceptual backdrop of the performances.
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