Join us this April for Erica Kaufman’s online class: Poem as Prosthesis & Pedagogy
4 Sundays in April (April 6-28)
5pm-8pm EST/2-5pm PST
There was something amazing about watching Daft Punk walk the red carpet in their tuxedos and spectacular “robot helmets” at this year’s Grammy Awards. Even the “fashion cam” seemed at a loss for words. What makes the helmets so jarring? This is nothing new—Daft Punk is known for their discovery that they are actually “robots in human bodies in robot costumes.” Increasingly, the joining of man and machine is almost routine—as N. Katherine Hayles writes in “How We Think,” “…the more the keyboard comes to seem an extension of one’s thoughts rather than an external device on which one types.”
In this class we’ll “embrace the machine,” so to speak—writing against, over, and through the virtual, versatile, fictional, animal, cyborgian, internalized, prosthetic. We will play with a variety of procedural and chance-based approaches to writing, keeping in mind the idea of the “prosthesis” as an “addition” (not a “replacement”), and consider the pedagogies these “operations” produce.
We’ll work with a wide range of texts—from J. Jack Halbertstam, Donna Haraway and Elizabeth Grosz…to…Ann Lauterbach, Fred Moten, Eileen Myles, Anselm Berrigan, Joan Retallack, John Cage…to… Gregory Ulmer, Marshall McLuhan, Walter Ong…
Each class session will be part discussion, part invention, part crowd sourcing knowledge, part workshop and form. At the end of our four weeks, we will all have a new toolbox full of procedures and prompts to generate new work, as well as new avatars to turn to as we move through the day.
erica kaufman is the author of INSTANT CLASSIC (Roof Books, 2013) and censory impulse (Factory School, 2009). she is also the co-editor of NO GENDER: Reflections on the Life and Work of kari edwards. Prose and critical work can be found in: Rain Taxi, The Poetry Project Newsletter, Jacket2, Open Space/SFMOMA Blog and in The Color of Vowels: New York School Collaborations (ed. Mark Silverberg, Palgrave MacMillan, 2013). she is the Associate Director of the Institute for Writing & Thinking at Bard College.
Idols by Dennis Cooper
SeaHorse Press, 1979
I couldn’t get up from my chair because I had a gigantic erection.
Dennis Cooper was a name I’d heard again and again by the time I was in my final semester at Oberlin, but I’d never given his work any of my time until I stumbled upon his book Idols in the stacks of gay literature at the school’s immense, vaginal, Brutalist main library. The cover of the thin volume, featuring the slickened back and cushy ass of some young Adonis, looked pleasant enough. At the check-out desk, I felt a bit like I did when I bought copies of XY at the local Borders when I was a young teenager— exposed and sheepish, titillated yet ashamed, though I was already a well-known homosexual by the end of my time in college. My physical and emotional sensations did not correspond to my status, which unsettled me further.
But I sat down in the main student study area anyway, cracked the laminate spine open— it was clear the book hadn’t been checked out in years— and began to read.
By the time I got to the poem titled Mike Robarts (page from a porno novel I wrote at sixteen), I could feel my cock swelling against my bikini briefs. I was only a few pages in, but felt like I’d been reading for eons. It was an experience akin to waiting for gay porn to appear on my parents’ dial-up internet connection as a high-school student, masturbating as idiotic-looking twinks slowly materialized on the oversized screen of a Compaq Presario.
Mike Robarts shuttled my desire towards peak:
“I said to Mike he was beautiful. He looked embarassed and said not to be weird.” I remember an incident when I was with my friend Josh in his room when we were around 13. Somehow dick sizes and sexual stuff came up, and I put my hand on his thigh, and smiled at him, which sent him screaming.
Things between us were never really the same after that, and it marked my first realization that there was no way I could just approach my objects of desire so casually, or as casually as I was wont, at least until I was older.
“Stan grabbed him and held him against me, his head steady, and I licked all over his face [...]
I ran my hand down into the front of his trunks and pushed them off. I felt him there and squeezed his balls.”
Perhaps my teenage dream of taking revenge on all of the beautiful boys who ostracized me was not necessarily typical, because I never really wanted to kill any of them, just have sex with them. (Yes, I was one of the weird boys who lingered too long in the locker room, gazing longingly at milky thighs and butts and abdomens, mostly when their owners couldn’t notice me doing so).
Of course, though, Cooper’s narrator and his friend Stan drown Mike. “I carried him to the pool deck and kissed his dead mouth and put my cock up his cool quiet ass again and again. I told myself I was glad I was drunk.” My mouth slightly agape, my dick erupted from my briefs and pulsating against my left thigh, I had to read the sentences a few more times. I worried for a few moments that I might be a necrophiliac, and felt pathetic, then sad. Then I put the book down, waited a few more moments, and went to one of the usually-abandoned third-floor bathrooms of the library. The orgasm was probablyone of the better solo efforts I ever achieved.
What remains important for me about Cooper’s book is not only that it led me to Bataille and Jean-Luc Nancy (among others), but that it taught me that a small piece of writing can allow for a complex and multitudinous and simultaneous outpouring from the head and the heart and the loins.
While I had suspected as such before sitting down with Idols, it was the first book that evidenced this more holistic unity to me. I readily admit my work bares little to no resemblance to Cooper’s, but the lesson imparted by my first encounter with his oeuvre remains one of the most important to my own ideas of what I think writing should do.
Sorry, third floor bathroom stall, and an extra sorry to the kid shitting in the stall next to mine.
In honor of our 40th anniversary, we’ll be hosting programs that recognize our history and propel us toward our future. Here’s what we’ve got in store:
MARCH 16, 2014 at 5pm
at Artist Television Access
hosted by former SPT Director
doors open at 5/event at 5:30p/
no one turned away for lack of funds
Born in Atlanta, poet, novelist, and publisher Renee Gladman earned a BA at Vassar College and an MA in poetics at the New College of California. Gladman, whose work has been associated with the New Narrative movement, composes prose and poetry that tests the potential of the sentence with mapmaking precision and curiosity.
Author of the poetry collection A Picture-Feeling (2005), Gladman has also published several works of prose, including Event Factory (2010), The Activist(2003), Juice (2000), and Arlem (1994). She has edited Leon Works, an experimental prose chapbook series, as well as the Leroy chapbook series. Gladman lives in Massachusetts and teaches at Brown University.
Elaine Equi’s Views Without Rooms was published in 1989 by the legendary series that was Hanuman Books. Between 1987 and 1993 Hanuman published 50 pocket sized morsels by some of the best poets of the late last century. Nowadays, used copies from the series routinely sell for fifty to a hundred dollars on Amazon. I was unaware of all this when I stumbled across a thin box containing a stack of Views while browsing the labyrinthine stacks at Small Press Distribution (one of the principle joys of an internship at SPD is the possibility of finding such rare, out-of-print and generally obscure titles). Printed in India from the same presses that produce pocket prayer books, the design was like nothing else in the warehouse. The cover features an overly saturated photo-booth portrait of the author set on a stark red ground with the title and author name in gold foil stamp pressed into the stock. The paper is cheap and the type no frills.
The poems are particularly suited to the format. Most of the lines are composed in short 2 to 3 word bursts that hustle down the page. The physical smallness of the poems are due to an extremely economic use of language: no word is superfluous. That careful and exacting use of mostly simple descriptive words compresses the units of meaning to their smallest points; the clear and transparent images and descriptions unfold to a richer, unseen fabric of sense. To me Equi is a kind of jovial Oz, thundering brittle shards of light, but maybe from behind the decks of a smoking Dub sound system. Clarity always constantly foiled by its lack, the conjoined and coherent moments are punctuated by the book’s many withouts. What appears crystalline may in fact be fog. “The heart a composite / of everything strange / that beats within.”
I fell quickly in love with this poetry of complexity not dependent on a dense vocabulary. I returned to SPD to pick up 8 more copies to give to friends (and even one to a visiting crush, hi Cori!). This book will always be one I return to when aesthetic despondence takes over, to remind myself that there are always “words / waiting for us / to arrive / and join them.”
Woman Sitting at the Machine, Thinking
preface by Merdiel Le Sueur, introduction by Merle Woo, memorial by Janet Sutherland
Red Letter Press, Seattle, 1990.
Karen Brodine died from cancer at the age of 40, while working — in anticipation of her death — on what would become this final collection of her poetry. In addition to being a poet, Brodine had been a tireless activist and advocate, a union organizer and socialist feminist, national organizer for both Radical Women and the Freedom Socialist Party, and founding co-editor of Kelsey Street Press. A typesetter for the bulk of her adult life, she traced the connections between the alienation of the mechanized workday, as the mediation of gendered labor moved from the messy materiality of type and ink to the equally embodied (despite still being labeled ‘immaterial’ wtf) and industry-wide shift to computerized work (which of course, still requires ‘sitting at the machine’).
she thinks about everything at once without making a mistake.
no one has figured out how to keep her from this thinking
while her hands and nerves also perform every delicate complex
function of the work… this is not automatic or deadening.
try it sometime. make your hands move quickly on the keys
fast as you can, while you are thinking about:
the layers, fossils. the idea that this machine she controls
is simply layers of human workhours frozen in steel, tangled
in tiny circuits, blinking out the lights like hot, red eyes…
The title poem, a ‘series of work poems,’ is the sequence that made me realize I was reading something new and different in my under-formed idea of Bay Area poetry (as well as feminist poetry) and, if it did not effect my own writing, would certainly help me rethink the privileging of poetic form as the locus of political work in the avant-garde (not that I do not continue to sweat out the politics of form!). Of course, Brodine was not alone: from Adrienne Rich to Dodie Bellamy, many Bay Area feminists, queers, and working class poets found new ways to combine autobiographical material with emerging forms of feminist and literary theory to foreground marginalized (and in many contexts, often silenced or erased) experiences of class and gender. For Brodine, ‘work poems’ (in this volume as well as her earlier books Workweek and Illegal Assembly) were not simply vehicles for narrating one’s personal experience in the workplace, but arenas for thinking through how feminized labor was connected to broader modes of capitalist exploitation, embodied entanglements with machines (coming four years before Donna Haraway’s “Cyborg Manifesto”), as well as the attendant physical risks, from cathode streams to xerox rays to processor chemicals (it is difficult to read such material without thinking about Brodine’s death from cancer), networks of political articulation beyond the more limited (though nonetheless critical) concerns of 70s US feminism about better wages, workplace harassment, etc, or 70s US feminist poetics’ focus on self-expression and celebration of ‘the feminine’. No one would call her an experimental or avant-garde poet — at least if judged by formalist categories — but our capacity for recognizing what risks and new openings can appear in what otherwise might be dismissed as conventional autobiographical poems only requires our own willingness to confront the class and gender politics of the workplace, the picket line, the family and domestic sphere, to rethink how poetry might register the complex articulations of labor in the current conjuncture of capitalism and patriarchy.
when i see my boss, I hold
my face clear and solemn, thinking
pig. pig. it’s true, too.
In 1999 or so, Yedda & I reprinted an excerpt from the title poem in the Work issue of Tripwire (you can download it at http://davidbuuck.com/downloads/tripwire_4_brodine.pdf). But find the book, read it alongside the Marxist-feminist and antiwork theory and history being rediscovered by the radical left. Read it alongside the work poems of the 30s and 2nd gen feminist poets of the 70s. Compare the cover to the cover of Haraway’s Simians, Cyborgs, and Women. Read it and remember the radical potential of content as a mode of risk and political work in poetry. And let’s remember the thankless work of small presses such as Red Letter for being committed to such risks, such politics, such poetry.
— David Buuck : Oakland : Jan ’14
Carol Mirakove on perhaps this is a rescue fantasy by Heather Fuller
perhaps this is a rescue fantasy by Heather Fuller (Edge Books, 1997) taught me to read as I had never before. Taught me to read poetry, myself as a political actor, situations, crimes & the cruelty we impose upon one another.
“a child outside / too young to scream as she does”
These poems fulfill the premise of poetry: they can’t be said any other way.
Heather Fuller discovers poetry in a contextual self
“I don’t own anything / and am thus / a terminal guest”
“the man in priority seating reminds / me of violence”
citizen & valentine
“does a wish for safe / transit assume a wish for love”
“I make love in the most irrelevant places”
fiercely honest & vulnerable.
“how far into dreams would you / go before losing”
perhaps this is a rescue fantasy serves as a North Star for me: I return to it when I am lost
“I’m after / ecstasy why we write or walk”
& then resume participation.
“Do I look as if I need a taxi”
MADE IN A FACILITY THAT PROCESSES SPILT MILK
“I had an idea to write a book that would translate the detail of thought from a day to language like a dream transformed to read as it does, everything, a book that would end before it started in time to prove the day like the dream has everything in it.” – Bernadette Mayer
“alone in the dream’s dressing room trying on / different styles” “to be conversant with the actual view” “we’re standing directly in the dream’s line of fire” “like all songs’ versions of all loss of love” “Or thirty-four soon my life is at least half over”— I’m thirty, I read Midwinter Day again, an annual tradition, this time it’s in a little tin roofed shack in a high desert ghost town east of Los Angeles. What remains? junk shop, general store, Catholic Church, City Jail, and saloon. At the junk store I buy a disc of some blue rock gem and on a fake gold chain a block of tiger’s eye which now rests as I write upon my breastbone. I’m in the dressing room trying on the outfit of someone who believes in charms. I know what I know which is not a lot but my body my body, sometimes it’s too open and I wind up diseased and emotional on a tossed bed, other times I intuit a coming scar and hole up where nothing can catch me. It’s the end of December, the end of the year in which I learn my love must be a kind of blind love, that alterity is (duh) always already, despite appearances, despite promises, despite love. I can hear hills and the occasional wheeze of an ORV engine, is it a calming or eerie silence. How will I ever retreat to the country if I don’t know how to feel about its sounds. So much quiet I could begin to think the only axiom’s lived expression in daily action. The trees seep with what I think are quail and the dry basin’s tufa spires are monuments we climb. Many stars and one’s perpetually shooting. I pay someone to tell me I have a habit of working hard at love. Am I brave enough to earnestly relate my dreams? Or the towns erected in their stead? Call the spirits from their dens. Johnny <3 Jasmine is etched into the blue formica, marking the rolling bolder of any freely given love. The sun will cling to those hills a few hours longer then the hidden suns will reveal their ripe mugs, a shining means of one foot follows the next and trust in breath made flesh. I’ll stand knee deep in it, a porous vehicle of despair slash hope that I might through some miracle or dumb luck never bow to those who say care’s for crows. I carry these limbs around get so attached to any ripe kindness or opening gift I break when it frays. Should I be more or less circumspect as we lean into the coming disasters. Hand in hand in the enrapt night. Together in the same trough. I’m rooting for the pirates. “If we’re all wrong about everything, the life so short and the craft so long to learn, the assay so hard, so sharp the conquering, the dreadful joy that passes so quick and then being left alone again, what I mean is love astonishes my feeling with its wonderful working so ardently so painfully so that when I’m thinking about such certainty I don’t know like the earth if I’m floating or sinking.”
February 16, 2014
present Femshi (Feminist NeoBenshi)
hosted by former SPT Director Dana Teen Lomax
Artists’ Television Access
992 Valencia Street, SF
Douglas Kearney’s third full-length collection of poems, Patter, will be published in March 2014 by Pasadena’s own Red Hen Press. Red Hen also published his first full-length collection of poems, Fear, Some, in 2006. His second manuscript, The Black Automaton, was chosen by Catherine Wagner for the National Poetry Series and published by Fence Books in 2009. It was also a finalist for the Pen Center USA Award in 2010. His chapbook-as-broadsides-as-LP, Quantum Spit, was released by Corollary Press in 2010. His newest chapbook, SkinMag (A5/Deadly Chaps) is now available. He has received a Whiting Writers Award, a Coat Hanger award and fellowships at Idyllwild and Cave Canem. His poems have appeared in journals such as Poetry,Â Callaloo,Â jubilat, Pleiades,Â Fence,Â Ploughshares, nocturnes, Ninth Letter, miPOesias, The Iowa Review,Â Washington Square, and Tidal Basin Review. He has been commissioned to compose ekphrastic poetry by the Weisman Museum in the Twin Cities, the Studio Museum in Harlem, FOCA and SFMOMA. He has led workshops on ekphrastic poetry in a range of museums and classrooms. Performances of Kearney’s libretti have been featured in Los Angeles, San Francisco, New York and the UK. He has been invited to speak on poetics internationally, including New York, Los Angeles, Mexico City and Malmo, Sweden. Born in Brooklyn, and raised in Altadena, CA, he lives with his family in California’s Santa Clarita Valley. He teaches at CalArts where he earned his MFA in Writing (04).
Whether writing about intimacy or alienation, Claudia Rankine’s voice is one of unflinching and unrelenting candor, and her poetry is some of the most innovative and thoughtful to emerge in recent years. Born in Kingston, Jamaica, and educated at Williams College and Columbia University, Rankine is the author of four collections of poetry, including the award-winning Nothing in Nature is Private. In The End of the Alphabet and Plot, she welds the cerebral and the spiritual, the sensual and the grotesque. Her latest book, Don’t Let Me Be Lonely—a multi-genre project that blends poetry, essays, and image—is an experimental and deeply personal exploration of the condition of fragmented selfhood in contemporary America. Of this book, poet Robert Creeley said: “Claudia Rankine here manages an extraordinary melding of means to effect the most articulate and moving testament to the bleak times we live in I’ve yet seen. It’s master work in every sense, and altogether her own.”
Rankine is also the author of a play, Provenance of Beauty: A South Bronx Travelogue, which is performed on a bus ride through the Bronx. The New York Times calls it an “engrossing urban adventure, which does not conform to the standard formula for theater but does make the bustle outside the bus throb with history, mystery and meaning, as the best live performances do.” She is also the founder of the OPEN LETTERPROJECT: Race and the Creative Imagination, and co-produces a video series, “The Situation,” alongside John Lucas.
Rankine co-edited the anthology American Women Poets in the 21st Century: Where Lyric Meets Language, and her work is included in several anthologies, including Great American Prose Poems: From Poe to the Present, Best American Poetry 2001, Giant Step: African American Writing at the Crossroads of the Century, and The Garden Thrives: Twentieth Century African-American Poetry. Her work has been published in numerous journals including Boston Review, TriQuarterly, and The Poetry Project Newsletter. She lives and teaches in California.
Norma Cole is a poet, painter, and translator. She was born in Toronto, Canada, and attended the University of Toronto for her BA in Modern Languages and MA in French. Her translation works include Danielle Collobert’s Journals (1989), Anne Portugal’s Nude (2001), and Fouad Gabriel Naffah’s The Spirit God and the Properities Of Nitrogen (2004). She has also edited and translated Crosscut Universe: Writing on Writing from France (2000),an anthology of poetry and poetics by contemporary French writers.
Cole has authored various books of poetry, including Natural Light (2009), Where Shadows Will: Selected Poems 1988-2008 (2009), Spinoza in Her Youth (2002), The Vulgar Tongue (2000), and Desire & Its Double (1998). In a review of her 1996 collection Contrafact, Erin Moule of Lemon Hound noted that Cole’s “meanings unfurl and gesture, resonate, play emphatic and contrapuntal gamings with language’s fluency.”
Cole’s experimental work SCOUT, a text and image work, was released in 2005. From 2004 to 2006, Cole was the lead artist for Collective Memory, an installation, performance, and publication for “Poetry and its Arts: Bay area Interactions 1954-2004” commissioned by the California Historical Society in San Francisco, California.
Cole’s various awards include a fellowship from the Foundation for Contemporary Arts, a Wallace Alexander Gerbode Foundation Award, Gertrude Stein Awards, the Robert D. Richardson Non-Fiction Award, and awards from the Fund for Poetry.
Cole has served on the faculty of the MFA program at Otis College of Art and Design in Los Angeles. She has lived in San Francisco since 1977 and teaches at the University of San Francisco.
Dana Teen Lomax is a mom and poet. The author of several books—DISCLOSURE (Black Radish Books, 2011), Ubu Edition #43 (UBU Editions, 2010), Rx (Dusie Press, 2010), CURREN¢Y (Palm Press, 2006), ROOM (A+Bend Press, 1999), and co-editor of LETTERS TO POETS: CONVERSATIONS ABOUT POETICS, POLITICS, AND COMMUNITY (Saturnalia Books, 2008)—her poetry and critical work has received California Arts Council, Marin Arts Council, San Francisco Foundation, and other awards. She served as the Director of Small Press Traffic and is proud to be the editor of KINDERGARDE. Dana currently teaches at San Francisco State University and with California Poets in the Schools. She lives in northern California with her super-cool family.
You’re invited to the March installment in a series of month-long and one-day ONLINE workshops taught by a different writer each month throughout 2014. For this month we’re so full of happiness to continue the series with:
admission $100-150 sliding scale for four three-hour workshops
Each class will be held online through a video conferencing website.
Holophonic Sounds are designed to trick your mind into seeing alternate realities. Poetry too. But Holophonia is probably bunk. Bootleg. Make believe. Poetry too, & not at all.
So in this class we’ll listen to stuff, then we’ll write in relation to what we heard. Each week we’ll constellate sounds for each other; songs, readings, field recordings, whatever. We’ll share our playlists with the group. Then we’ll make some poems by way of our various involvements with these aural arrangements, attending all the while where & how we’re listening. The facts of our production, our made-ness & our making.
Maybe we’re closer to what’s known as ‘music’ than to what’s known as ‘the human.’ So we’ll try to hear for one another in that ordinary way, ‘like signals from a more intense life, a life that has not really been found.’ We’re favored by such sounds. They’re what we call our favorites. We’ll linger there, heartsick, ’cause, uh, the world, but we’ll hold our disease with a scavenger’s ear for the writing of some mash notes on our heavenly afflictions.
WORKSHOP LEADER BIO
Dana Ward is the author of Some Other Deaths of Bas Jan Ader (Flowers & Cream), The Crisis of Infinite Worlds (Futurepoem) This Can’t Be Life (Edge Books), & several other little books throughout the years. He lives in CIncinnati, hosts the Cy Press @ Thunder Sky Inc readings series, & edits, along with Paul Coors, Perfect Lovers Press.
QUESTION AND SIGN-UP INSTRUCTIONS
Please email firstname.lastname@example.org