how the hell is everyone??

C as in closure and concensus
they ran their fingers
to gain smell

some blogs to check out (they'll also be on the link list)

mnp

transladaccion

Poetry Reading In Portland

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


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



"There wouldn’t be an experimental poetry scene to speak of here without Spare Room, which brings to town readers from the same tribe that tends to circulate between the Poetry Project or Segue Series in New York, Small Press Traffic and 21 Grand in San Francisco, Subtext in Seattle, Kootenay in Vancouver, In Your Ear or Ruthless Grip in DC, I.E. in Baltimore, Woodland Pattern in Milwaukie, Myopic in Chicago, or The Smell in L.A., just to name a very few. The fact that that’s only a few—that there’s a network of “Spare Rooms” across the nation—indicates the health, really the lifeblood, of a poetry culture the media and arts funding biz more or less ignore.

While I’d like to see the poets who travel here get paid more, there’s a bliss in that ignorance, too: the fundamentals of the poetry economy Spare Room’s a part of remain sound despite downturns, budget cuts, shifting enrollments, shrinking bequests or bloating windfalls. As Portland collects more arts refugees from the big cities, I hope Spare Room carries on for 100 more." --rodney koeneke

for more about spare room visit their website spare room

and read rodney koeneke's modern americans blogmodampo...

the mark of the beef

mesostic transpsych(ot)ic iteration

for Jaime Saenz after Lisa Jarnot's Right Poem


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.

a quick note from michel de certeau...on bosch's garden...

(click on picture for a closer look)

"Despite our knowledge of the iconography of the late middle ages, we have here the "pure and simple volatilization of meanings." Wilhelm Fraenger concurs, but, being an acute observer, on the lookout for anything that might "signify," he wants to force the "mute oracle" to speak nonetheless. His dictionary-machine (this "means" that) constrains each signifier to confess to a signified, thus transforming the painting into the transcription of a textual system. For others, and the best of them at that, such as Dirk Bax, the secret ofThe Garden arouses a rapt attention to its details. It is the labor of a Sysiphus, curiosity trapped in the cryptogram-rebus. This painting plays on our need to decipher. It enlists in its service a western drive to read. The meticulous proliferation of its figures calls irresistibly for indefinite narrativizing, whether it be that of a folklorist, a linguist, a historian, or a psychologist. This narrativizing, by countless erudite convolutions, makes each iconographic element tell a meaningful story. Like the discourse that is produced on the basis of dream fragments, the literature on The Garden is an endless series of stories elicited by some detail or other of the painting. Using a great many references, works, and readable documents, that literature produces its learned stories on the basis of pictorial fragments. Lettered stories seemed endlessly generated by The Garden of Delights. In point of fact, these scholarly tales (the thousand and one nights of erudition) follow, or postpone, or deny the moment when the pleasure of seeing is the death of meaning...

...The Garden cannot be reduced to univocity. It offers a multiplicity of possible itineraries, the traces of which, as in a labyrinth, would constitute so many stories, until one comes to a dead end that marks a forbidden meaning. But there is something more here. The painting seems both to provoke and frustrate each one of these interpretive pathways. It not only establishes itself within a difference in relation to all meaning; it produces its difference in making us believe that it contains hidden meaning."--from the mystic fable

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