Lucy and Christopher have
set up the following new blog:
//DISINGENUOUS TWADDLE is
looking for creative work
for the inaugural upload!
WE WANT YOUR ART!
– fiction (of varying length)
– sound pieces
Follow the links for more information…
The 95 Cent Skool is a 6 day long experimental seminar that will be offered in Oakland, California, July 26-31, 2010. It is convened by Joshua Clover and Juliana Spahr. It will explore the possibilities of poetry writing as part of a larger social practice, at a distance from the economic and professional expectations of institutions. We believe a dozen people sitting around a table can’t ruin poetry, but that costs, professional context, mythologies of individual genius, and client/service-based models can — and in our own experiences teaching in pay-to-play writing programs, often do.
Our concerns in these six days begin with the assumption that poetry has a role to play in the larger political and intellectual sphere of contemporary culture, and that any poetry which subtracts itself from such engagements is no longer of interest. “Social poetics” is not a settled category, and does not necessarily refer to poetry espousing a social vision. It simply assumes that the basis of poetry is not personal expression or the truth of any given individual, but shared social struggle.
The 6 days will feature:
• Morning discussion groups lead by Juliana and Joshua
• Two guest speakers: one on the political economy and one on ecology
• Afternoon group and/or collaborative writing sessions
• Dinners and drinks at a nearby bar
The 6 days will not feature:
• Workshops led by a “master poet”
• Agents or editors who will advise your work into publication
• A Richard Wilbur Celebration Night
• Instruction in reciting poetry to bring out the emotional content of the poem
The final program will be available later in the Spring.
Each participant will be asked to contribute up to 1% of annual gross income as their 95 cents exclusively towards operating expenses. The workshop leaders and as many other organizers as possible will donate their time. No one will be turned away for lack of funds. Email us if you’ve got questions about how much you can pay. We will also help in finding free housing for any participants in need.
The program is open to any interested participant with any level of prior engagement with poetry. This program is not affiliated with any institution of higher education and no transferrable institutional credit will be offered. There is no application fee, but space is limited. Please send a note indicating interest and experience to email@example.com
Please feel encouraged to re/post this listing to your blog or otherwise redistribute. If you would like to receive further information about the 95 Cent Skool, please email the address above, or join the 95 Cent Skool facebook group: http://www.facebook.com/group.php?gid=300963159304&ref=mf
The 95 Cent Skool will happen with the support of Small Press Traffic and ‘A ‘A Arts.
Thank you very much,
the 95¢ Skoolers —
Poetic Practice Reading Group
6.15 – 7.30 pm
International Building, Egham
Monday 1st February 2010
‘writing nonlocation location’ : creating queer space in poetic
I’m going to begin by talking about Bruce Boone’s essay ‘Gay Language
as Political Praxis: The Poetry of Frank O’Hara’. I want to examine
Boone’s reading of O’Hara – particularly concepts of ‘competing
language-cultural codes’, marginalised communities, proximity and
low/derided culture – and discuss the function of ‘gay language’ in
I want to use these concepts as a starting point for thinking about
contemporary uses of ‘queer language’ by looking at a recent issue of
EOAGH dedicated to the subject. I will be looking closely at kari
edwards’ editorial statement, and the poetry of Abigail Child and Amy
King included in the issue.
I then want to present some of my own recent work, and discuss my
practice in relation to the ideas raised. I particularly want to focus
on forms of queer space (proximity, disorientation, liminality,
occupation, subculture) which both influence and are produced by queer
texts, and will be contextualising this by referring to extracts from
Sara Ahmed’s Queer Phenomenology.
The Bruce Boone essay is here:
And the EOAGH Queering Language issue is here:
Extracts from Ahmed’s Queer Phenomenology are here:
Biography: Sophie Robinson has an MA in Poetic Practice from Royal
Holloway. She is currently completing a practice-based PhD on queer
time and space in experimental poetic practice. Her poetry has
appeared in the anthologies The Reality Street Book of Sonnets (Reality
Street, 2008) and Voice Recognition: 21 Poets for the 21st Century
(Bloodaxe, 2009). Her first book, a, was published by Les Figues press
in 2009, and she has a chapbook forthcoming from Oystercatcher in
Spring 2010. She currently lives and works in London.
As I said in the lecture: in the second half of term we want you to get into groups to discuss, in a workshop manner, your various final projects. Arrange these yourselves; get together with friends (it’s fine to mix people doing poetry, fiction and drama), pitch your ideas, get feedback from friends, listen to friends ideas, give them feedback. The only wrinkle is this: one person from the group needs to email me, Adam Roberts, to let me know that the group has been constituted and who is in it … so that I can tick everybody’s name off the big list I have. After that it’s up to you: meet as often or as infrequently as you wish, whilst always bearing in mind that if you meet infrequently then it’s not going to be very useful to your project. [AR]
In yesterday’s Final Project lecture on copyright (UK copyright lasts for 70 years after the death of the author, people; not after the date of publication of the text!) an interesting question was raised. What about posthumously published works? This is what my extensive googling proper-research-no-seriously-honestly-I-did has uncovered:
With effect from 1 August 1989, the 1988 Act provided a fixed period of 50 years from 1 Jan 1990 for unpublished works in existence at 31 July 1989. Works created on or after 1 August 1989 enjoy the normal copyright period, calculated in relation to the author’s life, whether they are published or not. These periods are unchanged by the 1995 Regulations.
So there you have it. rather complicated, really. [AR]
Sorry the room was locked this morning; hopefully it won’t be again.
To reiterate: it’s up to you to make first contact with supervisors for your final project. If you’re doing Poetry that means emailing Kristen; if Drama, then email Dan, and if fiction then email myself, Doug or Ben. In the unlikely event that the people interested in doing fiction divide equally into three, we will end up with balanced groups; if that doesn’t happen, some of the fiction people may find themselves reassigned. [AR]
Here’s a link to the Writers’ and Artists’ Yearbook, which I mentioned in the lecture. If you haven’t got £9.77 to spend on this, you’ll find it in most libraries.
You’ll remember what we said about fabula and sjuzhet, I trust. Well here’s a concrete example of what I mean. Take the fabula of the original Star Wars trilogy. One treatment of that sjuzhet is George Lucas’s series of films. Here is another treatment; same fabula, different sjuzhet (a guy gets his friend, who has seen bits and pieces of the films but not seen any of them all the way through, to recount the story). Actually I prefer this version. The animation helps. [AR]