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Nick Piombino's blog, June 26-27, 2005 Vanitas at the Bowery Poetry Club The readings in celebration of the first issue of Vincent Katz' new poetry and arts magazine, Vanitas, were clearly well received, and when the attendees had a chance to check out the terrific work therein and the issue's excellent production values, with cover and a section of art work by Jim Dine, the palpable excitement spilled over into the impromptu party afterwards at the Cafe Orlin. Vanitas #1 is available from Vincent Katz at vanitasmagazine@mac.com. The editorial address is 211 West 19th Street, #5, New York, NY 10011. Vincent, in an editorial afterword writes: "Most people in the U.S. use the word 'political' incorrectly. Politics must be an actual functioning apporoach to changing or avoiding governmental policies. This issue is reflection on THE STATE. Next, we will approach what can possibly thought of as politics. One move will be towards an investigation of current possibilities of Anarchy. Each issue will have a theme or thrust....One part of VANITAS is open it to current voices from around the world. We start in this issue with a poem from France and an essay from Brazil..." For some reason, everything, from the magazine itself, to the reading, to the party afterwards, to thinking about it now, seems to be triggering endless deja vus. Anyone, which is nearly everyone, who has had this feeling knows how it encompasses many aspects of memory and timelessness. I keep coming back to seeing Greg Masters at the reading. Greg is an old-timer like me, a vintage Poetry Project person. Connecting with Greg again helps heal the rifts that necessarily occur in the course of a lifetime with poets and poetry. Vanitas opens up with an article by Jordan Davis about the available histories of the New York school. He writes about David Lehman's The Last Avant-Garde, Daniel Kane's All Poets Welcome, and Joe LeSueur's memoir, Digressions on Some Poems by Frank O'Hara, the last two published in 2003. Jordan appreciates these but wants more and feels the history taking of this era and its progeny is incomplete. "What would be nice to have is a not-too-long book that tells the story of the New York School of poets, identifying the common interests of the writers and sources of their work, while placing the groups as they develop in their shifting milieus." Next comes a piece by Carter Ratcliff titled “The Anaxagoras Variations: A Note on Theory.” A fine poet in his own right, Carter Ratcliff is best known as an art critic. Once upon a time I would have been annoyed by this piece, which attempts to deconstruct & critique theory by means of theory. But, living in the heart of my own anecdotage, I can only enjoy reading the words of someone who attended Ted Berrigan's poetry workshop with me in 1967 and wrote a poem about it published in Ann Waldman's first World Anthology (1969) in which he writes: "Disagree with anything anybody else says, especially I remember admiring & enjoying Carter Ratcliff's first book of poetry Fever Coast, which featured an unforgettable poem titled "The Comma." Next comes a poem by Ann Lauterbach, "Triangles and Squares (Guston, Malevich)": Then four poems by Fanny Howe including “Empty Handed”: Then four by Ange Mlinko, including “The Most Awkward Hugger”: Three by Carol Mirakove including “substance”: Judith Malina, who lead off the BPC reading superbly, has one untitled poem: Then, my #1 favorite young poet right now Nada Gordon's “_Nothing is Untitled_”: Marianne Shaneen (who couldn't make the reading because she was ill) contributes five poems including “Magnetic Memory Loss”: Sarah Manguso contributes “Epthalamion”: Elaine Equi, who helped to edit the issue, contributes four poems, including “Nostalgia For Nostalgia’s Sake”: Three from Anne Waldman, including “Neural-Linguistically: this is the writing dance...": Then a Jim Dine portfolio of painted poems: Four from Jerome Sala, including “A Pageant of Agents,” a poem about beautiful spies being hired by the CIA, including Britney Spears: Four from Carter Ratcliff including “Since When”: did you admit that there was any difference between the two? Pizazz, you say, is a Darwinian adaptation, Two from David Lehman, including, “The Crown of The Evening”: One from Francis Ponge, translated by Laird Hunt, “Banks of the Loire, Rome, May 24th, 1941”: One from Drew Gardner, “from The Fire Escape”: Three Haiku from me, including “Unearth”: now buried Then two untitled poems from Richard Hell: One from Charles Borkhuis, “Valley of the Dogs”: Five from Daniel Bouchard, including “Christmas is Bombing”: One from Michel Bulteau “The Wounded Dream,” translated from the French by Vincent Katz: One from Morgan Russell, “Walk Fragment”: One from Clayton Eshleman “Autumn 2004”: Another from Nada Gordon, “Decency in the Arts”: Two essays from Alvin Curran written as liner notes to his CD “Animal Behavior”, including “Why Is This Night Different Than All Other Nights”: "...the ever-present choral hum of the Brooklyn Bridge acts as a reminder of what that monument once sounded like; it also acts like a safety net to catch the tuba spittle, the violin's rosin, the accordion's breath…" An essay from Ricardo Abromovay, “The Brazilian Left: Far From the Night of the Ultimate Overthrow”: “The principal mission of a government of the left in contemporary societies consists in promoting conditions that open greater opportunities for social integration to the poorest citizens, stimulating productive investments, applying substantial resources in education, and above all allowing greater productivity and greater access to markets for the millions of workers who might not participate in the economic growth." An essay from Martin Brody, “Music Like That”: "Adrian Piper suggests how an operation of 'self-confounding' might function as a poetics of intransigence with a strong formalist bent: '[T]o confound oneself by incorporating into works of art an aesthetic language one recognizes as largely opaque to one; as having a significance one recognizes as beyond one's ability to grasp... [T]he cross-cultural appropriation of alien formal devices reminds one of one's subjectivity.’” Following this, a section of a memoir by Morgan Russell “A Girl Named Lunch”: "...she told me of a lover with a glass eye... your eye, take it out...why?..because I want to lick the membrane behind it...(it’s actually almost licking the brain: a brain job)." The excellent issue ends with a statement of purpose by the editor Vincent Katz: "Someone asked me if the point was September 11, and I said no, it was a general dysfunction that had set in, marked by the thrusting into power of a group of figures that will be remembered as among the most destructive in U.S. and world history." |
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