NarcissusWorks

Exceptionally Ours

noreply@blogger.com (Anny Ballardini) — Wed, 25 Nov 2009 21:20:00 +0000

Geoffrey Gatza !

and Thanks Giving.

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Hamilton Stone Review

noreply@blogger.com (Anny Ballardini) — Tue, 24 Nov 2009 18:30:00 +0000

Hamilton Stone Review is currently seeking work for its February 2010 issue. Please

send contributions (along with short bios) in the form of .doc or .rtf attachments

as well as (to be on the safe side) in the body of your message. And please be

sure to include “HSR20 submission from [your name]” in your subject line.

For fiction, send your contribution to Lynda Schor at lynda.schor@gmail.com.

For nonfiction, send your contribution to Reamy Jansen at reamyjj@gmail.com.

For poetry, send your contribution to Roger Mitchell at hsrpoetryroger@gmail.com.

Peter Ganick

noreply@blogger.com (Anny Ballardini) — Tue, 24 Nov 2009 15:56:00 +0000

[VOLUMES 01 – 07 OF REMOVE A CONCEPT ARE AVAILABLE]

Remove A Concept was written by Peter Ganick in the late 1980s in a café in the South End of Hartford CT. It consists of 3350 sections running approximately 4500 pages.

The covers feature colorful abstract art by the author, art that suits the abstract nature of the text.

Commentary regarding each volume by Ivan Argüelles, Sheila E. Murphy, Jim Leftwich, John Crouse, Olchar Lindsann, Michael Peters, and Richard Deming can be read below.

Each volume is approximately 300 pages, and is available as a printed copy, a PDF-download, and readability in full for free at each volume’s web-page.

Remove A Concept is expected to fill 16 volumes before its completion sometime before Summer 2010. Stay tuned for further updates.

Take a chance and read some of one of the volumes in the free-read version at each of the webpages. Just click on ‘Preview This Book’ near the bottom of each page.

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Remove A Concept vol 01 / blurb by Ivan Argüelles

www.lulu.com/content/7642668

Peter Ganick's REMOVE A CONCEPT written in the mid 1980's, comprising 3350 sections and employing registers of language that range from the colloquial of jazz refrain to the enigmatic typlogies of the "seer". Between the convulsive high notes of Archie Shepp and the intricate silences of a himalayan Rishi this amazing text baffles stimulates irritates and gratifies the reader who has the patience and intellectual curiosity to plumb the depths and extents of this "ghost-ridden astrologic theater" , which can also be read as a continuous? segmented? alleatory composition in the manner of John Cage. It is as if Jackson Pollock had chosen to use words (syllables!) rather than pigments as his medium. Ganick says "the poem was exciting to write" and indeed its almost naive exuberance, fracturing syntax in every possible way, is a principle characteristic of this monumental Text. This is not to deny the underlying lyricism in the content of its intense fragmentation, as in "over full, read is anothered to morning in sky," ... The at times oneiric segmentation cannot help but remind one of Holderlin's "Fragments". The enormous and sometimes puzzling breadth of this Text can best be summed up in a single phrase: "Light & Maya".

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Remove A Concept vol 02 / blurb by Sheila E. Murphy

www.lulu.com/content/7762352

A principled uncertainly proposes hypotheses, examines each with a cool calculus infused with depth of feeling. One of the welcome ironies of this extended text is the centrality of a pressurized short segment that stands discernibly as a focal gem. Peter Ganick’s disciplined attention to the situational mystique reveals that single points of focus enrich the whole mental field with meaning. Here, a fine, musical ear sharpened by considerable and continual study and experience, trusts the occupation of a locus, finds a panoply of linkages embedded within situations to yield concise renderings of surfaces and their multiple under-layers as a recognition of infinity.

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Remove A Concept vol 03 / blurb by John Crouse

www .lulu.com/content/7800085

yr remove a concept, its endless/open as yr other writings. while it tells/ says one thing, it can be other things @ other readings/looks. yr words dont seem harvested by program, i would say theyre not, theres alot more going on than random splice and splat & see what sticks. the kind of reading i experience, or what i experience while im reading yr work is a kind of terminal freedom, a velocity that glides unbiased like gold thread can keep stretching while retaining valence and value. terminal as endless as well as endless places to board and depart.

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Remove A Concept vol 04/ blurb by Jim Leftwich

www.lulu.com/content/7841069

thinking in this text, what if soon becomes as if, and if, one by one, concepts proposed are removed as other concepts emerge, then as if becomes is, concept yields to process, being yields to becoming, and one is no longer thinking, or at least not thinking of concepts, one is in the process, no longer reading for content, or at least not for concepts as content, nor is one engaged in a process of reading as writing, one is rather reading as a process of following poetry as it unfolds, as if a poem might be about the time spent writing or reading it, as is the case with this poem, and perhaps with all other poems, once the concepts are removed.

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Remove A Concept vol 05 / blurb by Olchar Lindsann

www.lulu.com/content/7962709

A poem to be read by the morning, when routes of possibility are to be discerned winding amongst the gaps between shifting particles of thought, of thoughts still porous, not utterly cohered: so that the removal of a concept is the opening of a trapdoor, an infra-verbal space in which one shuttles back and forth: so that the poem forms itself around spaces, in undulating and arrhythmic cascades of language, then waits: so that one thinks between the nascent concepts lunging in staccato or gushing languorously on either side (...) A space for movement, to form itself around.

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Remove A Concept vol 06 / blurb by Michael Peters

www.lulu.com/content/7962708

This important historical work bears its age with increasing intrigue, simply because it would seem to suggest the inversion of time via its manipulation of absence—before and after you were born. It is unlike some of the more known, smaller works comprising Peter Ganick's publishing history—and a must have, but good luck finding yourself within it. This massive body of words becomes porous, wildly poetic—a veritable sea of holes, a space machine, or a supervaast field of labias. Ganick's RAC, a.k.a. "Remove a Concept," stretches you way out, makes you cross vaast spaces where you are uncertain of removals and insertions, and this contemplation includes yourself. Then if you realize it was undertaken in the late 1980s, the kinks in its thinking creates wild, definitive indefinitiveness where even the uncertainties are doubtful.

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Remove A Concept vol 07 / blurb by Richard Deming

www.lulu.com/content/7962853

A “fond energy” surges through the veins of Peter Ganick’s herculean Remove A Concept, powering the poems forward at every turn and creating an inescapable gravitational that pulls together its far-flung parts. Ganick, an unsung, underground master, has given his life to poetry and to music and it shows throughout this latest volume of his massive undertaking. To read Remove A Concept is to be reminded, that even at this late hour language can still surprise us and can yet reveal those moments when “to enfold envelops you out.”

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Bill Lavender, transfixion (Trembling Pillow/Garrett County Press)

noreply@blogger.com (Anny Ballardini) — Mon, 23 Nov 2009 23:18:00 +0000

An excellent review by Peter Thompson of Bill Lavender's transfixion on Exquisite Corpse.

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noreply@blogger.com (Anny Ballardini) — Sun, 22 Nov 2009 15:43:00 +0000

Notre Dame Philosophical Reviews

noreply@blogger.com (Anny Ballardini) — Sat, 21 Nov 2009 23:39:00 +0000

Raymond Carver

noreply@blogger.com (Anny Ballardini) — Fri, 20 Nov 2009 14:38:00 +0000

on The New York Times

Charles Bernstein

noreply@blogger.com (Anny Ballardini) — Thu, 19 Nov 2009 16:09:00 +0000

Editor of a new collection:

**American Poetry after 1975**
Duke University Press
a special issue of boundary 2
(Volume 36, Number 3, Fall 2009)
Paperback - $14.00
0-8223-6719-X
[ISBN13 978-0-8223-6719-2]
225 pages

Contents

Charles Bernstein / American Poetry After 1975: Editor’s Note / 1
Jim Rosenberg / Bios / The Logosphere / The Finite-Made Evolver Space /3
Peter Gizzi / Eclogues / 9
Christian Bök / Two Dots Over a Vowel / 11
Lytle Shaw / Docents of Discourse: The Logic of Dispersed Sites / 25
Tracie Morris / Rakim’s Performativity / 49
Jennifer Scappettone / Versus Seamlessness: Architectonics of Pseudocomplicity in
Tan Lin’s Ambient Poetics / 63
Craig Dworkin / Hypermnesia / 77
Jonathan Skinner / Poetry Animal / 97
Herman Rapaport / A Liquid Hand Blossoms / 105
Kenneth Goldsmith / In Barry Bonds I See the Future of Poetry / 121
Joyelle McSweeney / Disabled Texts and the Threat of Hannah Weiner / 123
Brian Reed / Grammar Trouble / 133
Juliana Spahr / The ’90s / 159
Al Filreis / The Stevens Wars / 183
Nada Gordon / Not Ideas about the Bling but the Bling Itself / 203
Marjorie Perloff / “The Rattle of Statistical Traffic”: Citation and Found Text in Susan
Howe’s The Midnight / 205
Elizabeth Willis / Lyric Dissent / 229
Tan Lin / SOFT INDEX (OF repeating PLACES, PEOPLE, AND WORKS) / 235
Benjamin Friedlander / After Petrarch (In the Rigging) / 241
*
& in the following issue of boundary 2 [36:4]
Scott Pound, Lucid/Ludic

Duke Univ. Press page for the book: http://tiny.cc/EJFfV

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noreply@blogger.com (Anny Ballardini) — Wed, 18 Nov 2009 20:01:00 +0000

noreply@blogger.com (Anny Ballardini) — Wed, 18 Nov 2009 20:00:00 +0000

noreply@blogger.com (Anny Ballardini) — Wed, 18 Nov 2009 19:58:00 +0000

noreply@blogger.com (Anny Ballardini) — Wed, 18 Nov 2009 19:55:00 +0000

noreply@blogger.com (Anny Ballardini) — Wed, 18 Nov 2009 19:53:00 +0000

noreply@blogger.com (Anny Ballardini) — Wed, 18 Nov 2009 19:49:00 +0000

noreply@blogger.com (Anny Ballardini) — Wed, 18 Nov 2009 19:47:00 +0000

noreply@blogger.com (Anny Ballardini) — Wed, 18 Nov 2009 19:44:00 +0000

Congratuations

noreply@blogger.com (Anny Ballardini) — Tue, 17 Nov 2009 20:58:00 +0000

to Joseph Boyden!

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A book about death

noreply@blogger.com (Anny Ballardini) — Tue, 17 Nov 2009 19:29:00 +0000

Angela Ferrara, an artist based in São Paulo, Brazil, created this video for the exhibition A Book About Death.

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William Allegrezza and Fragile Replacements

noreply@blogger.com (Anny Ballardini) — Tue, 17 Nov 2009 07:16:00 +0000

MERITAGE PRESS ANNOUNCEMENT

A Special Release Offer For:

FRAGILE REPLACEMENTS
Poems by William Allegrezza
ISBN-10: 0-9794119-0-4
ISBN-13: 978-0-9794119-0-8
Release date: Summer 2007
Distributors: Small Press Distribution, Amazon.com & www.MeritagePress.com
For more info: MeritagePress@aol.com

Meritage Press is delighted to announce the release of FRAGILE REPLACEMENTS, William Allegrezza's long-awaited poetry collection. FRAGILE REPLACEMENTS explores the way we live through language, experiencing births, deaths, and rebirths through it, but the book also examines how our language is filled, controlled, and crafted by our societies. Two long poems surround and provide context for reading shorter lyrics in the middle section.

ABOUT THE AUTHOR:
William Allegrezza teaches and writes from his base in Chicago. His poems, articles and reviews have been published in several countries including the U.S., Holland, the Czech Republic and Australia, as well as in several online journals. His chapbooks, e-books and books include Lingo, The Vicious Bunny Translations, Covering Over, Temporal Nomads, Ladders in July, Ishmael Among the Bushes, and In The Weaver's Valley. He is the editor of Moria Poetry , a journal dedicated to experimental poetry and poetics, and the editor-in-chief of Cracked Slab Books.

ADVANCE WORDS on FRAGILE REPLACEMENTS:
Allegrezza's poetic canvas-of-choice is the lyric, and his lyrical investigations frequently appear to evolve or grow. . . from an imagination fueled by found language fragments and theory-singed excesses. This particular poet's capacity to create resonant, "deep" images is extraordinary.
--Clayton Couch

There is something about the flow in Allegrezza's poems that I quite like, the way they simply move one step at a time down the page almost intuitively. Really, it's the leaps between lines that impress; almost ghazal-like down the page, jumping from line to line to line in seeming disconnect.
--rob mclennan

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SPECIAL RELEASE OFFER:
Meritage Press is pleased to offer a Release Special through August 31, 2007. For $13.00, you can obtain a copy of FRAGILE REPLACEMENTS—a reduced rate from the book's retail price of $16.00—plus free shipping/handling (an approximate $4.00 value) to U.S. addresses. Just send a $13.00 check made out to "Meritage Press" to:

Eileen Tabios
Meritage Press
256 North Fork Crystal Springs Road
St. Helena, CA 94574

For international orders, please contact us through MeritagePress@aol.com

The Monserrat Review

noreply@blogger.com (Anny Ballardini) — Mon, 16 Nov 2009 16:33:00 +0000

Grace Cavalieri on Dan Murano.

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Jesse Glass and Ahadada Books

noreply@blogger.com (Anny Ballardini) — Mon, 16 Nov 2009 16:24:00 +0000

An eye-popping new on-line collection from Amy C. Please go to www.ahadadabooks.com and download to your heart's content. While you're there, check out our other e-chap collections, our books, our blog, and the latest Ekleksographia. More fun on the horizon, Jess

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Joel Weishaus

noreply@blogger.com (Anny Ballardini) — Mon, 16 Nov 2009 12:44:00 +0000

Dear Friends and Colleagues:

Here are pages 41-42 of "The Gateless Gate":
http://web.pdx.edu/~pdx00282/Gate/Pgs%2041-42.htm

Mirror site:
http://www.cddc.vt.edu/host/weishaus/Gate/Pgs%2041-42.htm

Paragraph headings:
The Gateless Gate is where the alchemical...
Twice in the past month I've been mistaken...
Pockets emptied, everything shoved...
Is my only proof of identity a few laminated...
Arms and neck examined, the scar...

In Old Japan there were barrier gates...
I walk into the forest hoping to find...
Like a jigsaw puzzle whose pieces shoud fit...
What Transforms the chaos of dreams...
Joel was a young Brooklynite who...

Cover:
http://web.pdx.edu/~pdx00282/Gate/cover.htm

Thank you, as always, to those of you who have written to me on this project.

-Joel

POETICKS and Bob Grumman

noreply@blogger.com (Anny Ballardini) — Sun, 15 Nov 2009 12:50:00 +0000

News from Jesse Glass

noreply@blogger.com (Anny Ballardini) — Sat, 14 Nov 2009 12:29:00 +0000

"Lost in Music, Found Again; comprising 'Sad Fates of the Songsters,' by Peter Riley and 'A Thesis on the Ballad 'by Kelvin Corcoran" can be had for less than a song at www.ahadadabooks.com. While you're there, check out our other goodies. Rolling from Strength to Strength,
Jess

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35th Infantry Division Belgium

noreply@blogger.com (Anny Ballardini) — Fri, 13 Nov 2009 14:06:00 +0000

The '35th Infantry Division Belgium' is a living history and study group who tries to keep the memory of those who fought in the 35th Infantry Division alive since 2007.

We do this in two different ways:

By Living History: We try to reconstruct every part of the US Army (World War 2) and especially the history of the US 35th Infantry Division 'Santa Fe' as good as possible. Everything we do has to be historical correct!
By Historical Research: We try to learn as much as possible about the 35th Infantry Division by doing research, by keeping contact with veterans and their family, by visiting the battlefields, by fieldresearch, etc.

By doing these two things, we are convinced that the men who fought in the 35th Infantry Division won't be forgotten and that they will always be remembered by our group in Belgium.

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