AWP 2013: Poetry Blooms in Boston

Thanks for stopping by to say Hi! I hope you’re having a fantastic AWP and are inspired to write, write, write when you get home and recover from the excitement.
A short hello about me: I’m a poet and book reviewer whose work can be heard on the online show, Poet As Radio. I earned my MFA from the University of San Francisco and was recently awarded a Kundiman Fellowship. My writing has appeared in Drunken Boat, Versal, EOAGH, Spiral Orb, The Collagist, Mead Magazine, Eratio, and other journals. Currently I’m working on a chapbook titled “Whiskey, Water, and White Dwarves”, as well as a series of essays on tantric meditation and poetry.
I’ll be staffing the Kundiman Booth at AWP (#408) on Saturday from 11:30am-5:30pm. Come by and we can talk poetry and play a game of Rock, Paper, Scissors, Lizard, Spock.
Take care, dream big, and I hope we cross paths again soon!

Quiet Lightning + 826 Valencia = Pirate Lightning!

A rousing time was had by all at the February 4th celebration of young readers, put together by Evan Karp, Chris Cole and the good folks at 826 Valencia. The authors were at the top of their game and the Pirate Store was absolutely SRO. Allie read Gillian’s poem, “How To Be a Circuit” in the second half of the evening. Then they skedaddled home to hit the books since it was a school night!

How To Be A Circuit
First you have to choose whether you are
a parallel circuit or a
series circuit choose if you have a switch
or a lightbulb or a
buzzer or if your inside inside
Rudolf the red-nosed Reindeer
but even if you choose a bee that flaps its wings
you have to have a flowing connection of electricity
maybe from a batterie or an outlet
the connection has to be clear
If not,
the light or buzzer goes out
for a series circuit you’re in a loop, you’re more
simple
but to be a parallel circuit is more complicated
but if one goes out the others stay on
hopefully your batteries will never go
out
out
And you can read the entire sparkle + blink 36 here!

Poetics of Trance

Lan Su Chinese Garden, Portland, Oregon

Lan Su Chinese Garden, Portland, Oregon

What is the difference between sleeping and trance? Dream and waking? Consciousness and free will? Conditioning and personality? Check out Drunken Boat 16’s folio on Trance Poetics and get the 411 on all this. Kristin Prevallet has curated a wide-ranging exploration of trance poetics in forms aural, visual, and written, including my poems, “Hypnogogic,” (based on a most intense waking dream state), “In Full View,” “Lucid: One Dream,” and “You Know Where You’ve Been.”
You can click on the “listen” button by each poem to hear an extra feature if you so desire. Poetry as the Fifth Element in a garden, from a visit to Portland’s wonderful Lan Su Chinese Garden accompanies “Hypnogogic.” There are background tidbits in the recordings of the other poems too. If I had realized that the recordings were going to accompany the poems, I would have made my voice sound sexier. I thought the recordings were going to go on a blog or archive somewhere else. I must have been sleeping. 🙂

The I Ching in Performance

Many thanks to Karen Penley for inviting me to read at her series, “Retard: The Church Show” last Friday, Dec. 14th. I was inspired by the amazing movement and music artists to try out a new performative poem based on the I Ching. This included a Buddha Box, an old almond cookie tin, three I Ching Coins, and many layers being revealed. What kind of layers? I’ll leave that to your imagination. Or perhaps I can perform it again sometime!
What a fun evening with: Catherine Debon, Smooth Toad, Amy Moon, Ian Robertson, Alan Phillip and Herb Heinz. All of them doing stuff. And the apple caramel tart and tea and pecan pie ice cream were yummy too.
So if you’re looking for something fresh and different, check out Karen’s new series of performances and readings, making a new home in the Temescal neighborhood of Oakland starting January 6th, 2013. Happy Holidays, Everyone!

Of Mantras and Poetry: A New Essay Up at Mead Magazine

Following on the heels of my Lion House reading, I found this cool clip of Michael McClure reciting his “beast language” to the lions at the old Lion House at the SF Zoo. Thanks to Jillian Rose for reminding me about it!

I wrote about McClure’s collection, “Ghost Tantras,” in my essay, “Of Mantras and Poetry: The Seed Syllables of Sound Poetry,” up in the current issue of Mead: The Magazine of Literature and Libations, edited by the feisty and talented Laura McCullough.
The essay also delves into Christian Bok’s poetry, The Bon Warrior Seed Syllables, Jackson Mac Low’s Performance Piece and Hugo Ball‘s Dadaist Poems!

Quiet Lightning at Viracocha on November 5th

 
I have the good fortune to read at Quiet Lightning:
Monday, November 5th
Viracocha • 998 Valencia @ 21st
7pm doors, show at 7:30
$5
Please come and join the fun!
The show was curated by Chris Cole and Evan Karp and this month’s artist is Kirsten Harkonen.

Maps and Poetry at Powell's City of Books

On a recent trip to Portland, Oregon, I made a visit–or should I say a “pilgrimage”–to Powell’s City of Books on West Burnside Street.  Powell’s is a shrine to many and it certainly is to me, since I’d first started going there as a sales rep for a large publisher, many years ago.  I would spend long rainy days discussing books with the buyers of the various departments and taking inventory off of color coded index cards that used hashmarks to tally the number of copies a particular title sold.  (This makes me think of the story of a software engineer who learned how to write computer programs by keying in punchcards to physically run the code through the machine.)
This was back before the Pearl District had become the chic home of Whole Foods, Sur la Table and Anthropolgie. In those days, the bookstore’s location was fairly low rent, sitting on the edge of a warren of auto repair shops and warehouses.  I would squeeze my sales rep rental car (usually a nondescript silver mid-size number) into the precarious garage that had such a steep and narrow driveway there was a sign on the wall that warned you to honk in case another car was on its way down the same ramp.  Even then, Powell’s was already big enough to need a map for its customers, a charming hand-drawn guide that readers could use to navigate their way to their favorite books. Like a nostalgic alum visiting her old college campus, I was happy to discover that the newer, bigger Powell’s still offered paper maps but that they also had a smartphone app that would lead patrons directly to the shelf of any title they had in stock.
Armed with paper and electronic navigational tools, I easily found my way to the Poetry section (Blue Room, aisles 211-212) and quickly gathered an assortment of titles: Wonderful Investigations by Dan Beachy-Quick, Transformations by Anne Sexton, Of Gods & Strangers by Tina Chang, and Andrew Schelling’s Wild Form & Savage Grammar. A shiver of delight and fear ran though me simultaneously–a mere 15 minutes into my first foray had yielded treasures already–and I had not even made it to the Mythology Section (Red Room, aisles 875-877) or the Fiction Section (the entire Blue & Gold Room) yet!
With a sigh of pleasure I hugged my books to my heart and consulted the map once more. I needed to know where the World Cup Cafe (Coffee Room, southwest corner–also the Audio Section, aisles 401-405, and Humor Section, aisles 407-412) was as I knew I would need a hit of Bookworm Blend and a bite to eat in due time. Then, with the promise of poetry coursing through my body, I was ready to trek deeper into the stacks of Powell’s, my own little slice of nirvana. Little did I know I would be spending five hours there that day alone, and heaps more time over the course of the next few days (14 hours in four days), so the maps and the coffee would come in handy many times over!

A Noun Sing E·ratio 15 · 2012

I’m happy to have two poems, “Beach Tantra” and “not by wrist“, in the current issue of Eratio!
a noun sing e·ratio 15 · 2012
with poetry by:
Morgan Harlow, Candy Shue, Jan Lauwereyns, Doris Neidl, Tim Trace
Peterson, Jen Besemer, Sheila Squillante, Lisa McCool-Grime, Natalie
Watson, Julie Wood, Kristina Marie Darling, Felicia Shenker, Scott
Bentley, J. Crouse, Bob Heman, James Davies, Dylan Harris, Michael
Sikkema, Kent Leatham, Parker Tettleton, Bobbi Lurie, Lauren Marie
Cappello, Erin Heath, Wynne Huddleston, Jane Olivier, Elise, Nathan
Thompson, Tim Wright, Tim VanDyke, Iain Britton, Ian Hatcher, C. Brannon
Watts, Seth Tyler Copeland, Rich Murphy, J. D. Nelson, Howie Good, Monty
Reid, Dave Shortt, Billy Cancel, John Clinton, Thomas Fink, Larry Ziman,
Valery Oisteanu, Michael Crane, Jon Cone, Mark Cunningham, Rick Marlatt,
Nikolai Duffy, Alessandro Cusimano, Jacob Russell, Corey Wakeling, Stephen
Nelson, Steve Gilmartin, James Valvis, Greg Cohen, Derek Henderson, Travis
Cebula, Sean Howard, Walter Ruhlmann and Márton Koppány
and featuring
The Mallarmé Project, an examination of a yearlong series of art and
writing in Seattle by Joseph F. Keppler
and
The Susan Bee Interview
E·ratio is edited by Gregory Vincent St. Thomasino with contributing
editors Joseph F. Keppler and Lauren Marie Cappello
E·ratio is reading for issue 16, the fall 2012 issue, so send in your poems!

A Night of Levels and Quadrants with the 'Lectric Collective

The ‘Lectric Collective reading, held on Dec. 9th at the Krowswork Gallery in Oakland was a mind and art expanding experience. Thanks to Sarah, Kelsa and Jill and Jasmine for putting together a great evening of art and poetry.
The theme of the night–accidental recordings and the framing of experience through the art of juxtaposition–made me think about the many tricks I play on myself, all the constraints I put on the writing of the poem in order to court the muse of chance. How do all these little accidents, mistakes, missteps, subconscious encounters, and forays into the unknown end up creating a poem–or a person, or a movement, for that matter?
I went back to the work of the philosopher Ken Wilber and found this diagram (projected onscreen during the reading) that depicts his theory of “All Quadrants, All Levels.” In it, he posits a description of the architecture of the cosmos that includes the interior experience of the individual (perceptions), the objective behavior of said individual (what can be seen and observed), the interior experience of the collective (culture), and the structures that the collective create in order to reflect the culture (society).

Using this rubric, any poem I write is mappable–and in fact, the poem itself can be seen as a map indicating where I am in my life at the very moment that I write it. The poem comes into being in the same way that my self emerges into a moment.
The idea of writing through the various layers of individual and collective experience reminded me of Mei-mei Berssenbrugge‘s poetic statement from the anthology, Lyric Postmodernisms (edited by by the late Reginald Shepherd):

“That particular conjunction of events which includes the history of your body, your experience, and your art vertically, and the time and circumstances you are in horizontally, seeks an expression that is inevitably unique, or new.”

“I have an intuition of a new form, as a new expertise in the topology of expression, emotion, and culture.”

To allow a poem to inhabit a space that is personal, historical, cultural and social seems like another way of explicating imagistically Wilber’s sense of levels and quadrants. For instance, in these lines from her poem, “Tan Tien,” Bersenbrugge approaches the notion of the body as a physical entity, but also one that exists in relation to other people as a link between the natural and manmade structures of the world:

If being by yourself separates from your symmetry, which is
the axis of your spine in the concrete sense, but becomes a suspension
in your spine like a layer of sand under the paving stones of a courtyard
or on a plain, you have to humbly seek out a person who can listen to you,
on a street crowded with bicycles at night, their bells ringing.