So, it's been 5 months since I posted anything. And a lot longer since I posted anything other than events I was to participate in, I have even failed to mention the last half-dozen readings and other events.
What is my excuse? A lot of writing on paper has been done, and a fair amount of publishing. I just got back from the IPRC where I printed most of the covers of the next c_L chapbook "Rotations" by Jesse Morse (don't tell him, please!). I've got to travel a bit, with a recent performance in Seattle alongside Garek Druss, John Teske, whilst tabling for c_L, Peaches & Bats, and Abandoned Bike. Also there have been the Spare Room and the Poetry on the Piazza series, the latter series meta-curated by David Abel, and last night's particular Piazza reading directly curated by him, which was a reading by Seattle's Robert Mittenthal, Vancouver's Donato Mancini, and Windsor, Ontario's Louis Cabri.
Robert is a friend, an influence even. Donato's work I either first encountered through Crag Hill or blown up on the wall of galleryHOMELAND for the Spare Room 100th reading (which was also the first Spare Room event I participated in by reading). I met Donato for the first time last night. Also, a poet I was unfamiliar with prior to the reading Louis Cabri, who Michael Weaver described to me as "the greatest hope for American poetry" (he's Canadian, but we Canadians are Americans to, right Vespucci?). Louis was an incredible performer of a brilliant and inventive poetry that reminded me of Jackson Mac Low but with a simple, bouncing, musical quality. I agree with Michael.
So I'm going to try and come back and write again, there is ernough going on that I should have something to say, but I would appreciate the odd comment, even if it's "stop." I'm obstinate enough to handle that. Even when it seems that comment boxes are where the mind goes to die.
And if you shoot me a line, and let me know what's going on, maybe I'll repost, process, or recant, and you'll get to give me or save me a little work.
Also, if you made it this far: thanks. I'll see you tomorrow.
Tuesday, August 23, 2011
Monday, May 23, 2011
c_L chapbooks available in 2011
c_L has released it's second chapbook!
Lines on Canvas or What I Know or Have Seen of His Life
by Sam Lohmann
Lohmann's Lines on Canvas are a collection of lines drawn to the end of breath. From the referential object found by Sam in his exploration of the landscape, this time from the vantage of the idea of the painter. Each line is drawn from a singularity in text to its possible extent in the world, as Sam has culled it from one biographer looking at an other. That other being the painter Cézanne, from the eye and mouth of his friend Joachim Gasquet.
This chapbook is an excerpt from a full-length work that should appear later in the year. Lines on Canvas is available from the publisher for $8 domestic mail.
Send a check or well-concealed cash to
James Yeary
2947 E. Burnside
Portland, OR 97214
also:
Phoebe Wayne's Lovejoy is still available.
c_L's first publication, Lovejoy's several narrative threads each take a different perspective on the construction, presence and decay of Portland's Lovvejoy columns, a series of "outsider" architecture that have been disappeared from the Portland cityscape since the WPA projects of the 1950s that helped bring them into the world.
Both chapbooks feature letterpress printed covers and hand-sewn binding.
Lovejoy is available for $6 domestic mail.
Lines on Canvas or What I Know or Have Seen of His Life
by Sam Lohmann
Lohmann's Lines on Canvas are a collection of lines drawn to the end of breath. From the referential object found by Sam in his exploration of the landscape, this time from the vantage of the idea of the painter. Each line is drawn from a singularity in text to its possible extent in the world, as Sam has culled it from one biographer looking at an other. That other being the painter Cézanne, from the eye and mouth of his friend Joachim Gasquet.
From the overbearing sky
He produced atrocious studies
In the attic a canvas of holes
This chapbook is an excerpt from a full-length work that should appear later in the year. Lines on Canvas is available from the publisher for $8 domestic mail.
Send a check or well-concealed cash to
James Yeary
2947 E. Burnside
Portland, OR 97214
also:
Phoebe Wayne's Lovejoy is still available.
c_L's first publication, Lovejoy's several narrative threads each take a different perspective on the construction, presence and decay of Portland's Lovvejoy columns, a series of "outsider" architecture that have been disappeared from the Portland cityscape since the WPA projects of the 1950s that helped bring them into the world.
Both chapbooks feature letterpress printed covers and hand-sewn binding.
Lovejoy is available for $6 domestic mail.
Monday, April 25, 2011
CREEP OF LIGHT
So there's a new letter
a newsletter
a new newsletter in the world
issue 0 featuring Cecil Touchon, Nico Vassilakis, Joe Bradshaw, Sarah Kelly & Dan Thomas-Glass
issue 1 featuring Derek Beaulieu, Norma Cole, David Abel, Maryrose Larkin, Chris Ashby, Lisa Radon, & David Drake
monthly is the plan, mail is the reason
3 issue subscription for $6
I hope to get this paypal button thing figgered, in the meantime, "well-concealed cash" is how the post-punks do their business
a newsletter
a new newsletter in the world
issue 0 featuring Cecil Touchon, Nico Vassilakis, Joe Bradshaw, Sarah Kelly & Dan Thomas-Glass
issue 1 featuring Derek Beaulieu, Norma Cole, David Abel, Maryrose Larkin, Chris Ashby, Lisa Radon, & David Drake
monthly is the plan, mail is the reason
3 issue subscription for $6
I hope to get this paypal button thing figgered, in the meantime, "well-concealed cash" is how the post-punks do their business
Wednesday, March 30, 2011
Reading in the Palouse!
with David Abel!
Thursday April 7th
5:30 pm
Washington State University
Kimbrough 101
Pullman, Washington
Monday, February 14, 2011
Sat., March 5th: Poets James Yeary & Lindsay Hill. Music by Justin Smith
James Yeary is a [me, a] poet and visual/performance artist living in Portland, Oregon. He is a member of the Spare Room collective for whom he recently organized The Maximus Poems Marathon, plus a festival of poetry for multiple voices. He is publisher of the chapbook series c_L books and is co-author (with Nate Orton) of the zine series my day. His work has appeared in ditch, Peaches & Bats, and SHIFTER.
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Lindsay Hill was born in San Francisco and is a graduate of Bard College. His most recently published books are: The Empty Quarter and Contango (both from Singing Horse Press, San Diego). Recent work has appeared in Peaches & Bats, New American Writing, and Peep/Show poetry online: peepshowpoetry.blogspot.com/. Lindsay lives in Portland with his wife, the painter Nita Hill.
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Justin Smith is an experimental composer, based in Portland OR
James Yeary is a [me, a] poet and visual/performance artist living in Portland, Oregon. He is a member of the Spare Room collective for whom he recently organized The Maximus Poems Marathon, plus a festival of poetry for multiple voices. He is publisher of the chapbook series c_L books and is co-author (with Nate Orton) of the zine series my day. His work has appeared in ditch, Peaches & Bats, and SHIFTER.
+
Lindsay Hill was born in San Francisco and is a graduate of Bard College. His most recently published books are: The Empty Quarter and Contango (both from Singing Horse Press, San Diego). Recent work has appeared in Peaches & Bats, New American Writing, and Peep/Show poetry online: peepshowpoetry.blogspot.com/. Lindsay lives in Portland with his wife, the painter Nita Hill.
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Justin Smith is an experimental composer, based in Portland OR
Friday, February 4, 2011
Jennifer's question (from the collected texts)
When working in form, does that form take precedence over language?
Language itself is a form, as is poetry. The idea is that spectralism would enhance language, by flattening things like narrative.
The form of the word flattens the visual qualities of the letter. The form of the sentence gives to the word a particular quality -a context.
But like calligraphy returns independence to the visual qualities of the letter- the poem returns the word its objective magic
What was language again?
Language itself is a form, as is poetry. The idea is that spectralism would enhance language, by flattening things like narrative.
The form of the word flattens the visual qualities of the letter. The form of the sentence gives to the word a particular quality -a context.
But like calligraphy returns independence to the visual qualities of the letter- the poem returns the word its objective magic
What was language again?
Monday, January 31, 2011
The Maximus Poems: a marathon reading presented by Spare Room
These pictures are out of order.
The first one is of the last day of The Maximus marathon, at YU, and was taken by Chris Ashby. As you can see, we ran out of wine.
The next two, of Alicia Cohen and Sam Lohmann, followed by Jennifer Bartlett and Jaye Harris, both taken by Paul Maziar at Gallery HOMELAND, day two.
This next-to-last one is me looking smug, day one. What can I say, it was the beginning of the great event, and somehow someone also managed to bring my favorite beer, HUB 7-Grain Stout, in a keg. The last two also taken by Paul Maziar at Switchyard Studios, he also being the host of that day's reading.
I cannot express enough what a great pleasure it was for me and I think the many poets, projectivists and olsonians involved. Thanks to eveeryone who came and to all who participated.
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