Podcasts about Robert Creeley

The queens prove that it's not the size of the ship but the motion etc etc in this episode devoted to short poems.Please Support Breaking Form!Review the show on Apple Podcasts here.Pretty Please with Aaron's cherry on top.....  Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.     James's ROMANTIC COMEDY is available from Four Way Books. Poems we mention in the show include:A.R. Ammons's "Their Sex Life"Rae Armantrout's "Anti-Short Story" and "Custom"Mahogany L. Browne's "Marigold." Listen to it read here.Andrea Cohen's "After" and "Matinee" and "Flight Pattern" and "Ghosting"Robert Creeley, "The Answer"Jim Harrison's "Another Country" and "Barking"Jane Hirshfield's "Like Others" and to "The Woman, The Tiger." You can hear her read that poem here (at the 18:12 mark).Sandra Lim, "Just Disaster" and "At the Other End of the Wire" and "Endings"Listen to Sandra Lim read her poems (~40 minutes) with many short poems at the end. Samuel Menashe's "Adam Means Earth" and "Apotheosis"Harryette Mullen's "Way Opposite"Kay Ryan's "Winter Fear" Listen/watch the music video for Gilette's "Short, Short Man" here. 

The queens play a round of Step Your Poetry Up before poet-voicing porn dialogue. Please Support Breaking Form!Review the show on Apple Podcasts here.Pretty Please.....Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.     James's ROMANTIC COMEDY is available from Four Way Books.SHOW NOTES:Here are links to some of the poems we mention:Amy Lowell, "Patterns"Robinson Jeffers, "Credo"H.D., "Sea Rose"Sara Teasdale, "Moonlight"An essay on Hart Crane's "The River"Robert Duncan, "My Mother Would Be a Falconress"Theodore Roethke, "In a Dark Time"Robert Creeley, "The Rain"James Dickey, "The Sheep Child"Galway Kinnell, "The Bear"Stanley Kunitz, "Father and Son"We make reference to the poet C. Dale Young--visit him online here. 

~Co-presented with Bolinas Museum~ Kevin Opstedal, author of Dreaming as One: Poetry, Poets and Community in Bolinas, California, from 1967-1980, in conversation with editor, critic, and ethicist (and New School Host) Steve Heilig at the Bolinas Museum. Bolinas has a long and vibrant history as a haven for poets and writers seeking an alternative lifestyle and creative environment away from urban centers. In Dreaming as One, Kevin Opstedal tells the story of the unique poetic community that lived and worked in Bolinas from 1967 to 1980. Kevin's narrative, enriched with photos of and interviews with many of those featured, captures the spirit of rebellion, experimentation, and communal living that characterized their ethos, activism, and artistic commitment. The book features Joanne Kyger, Lew Welch, Philip Whalen, Robert Creeley, Tom Clark, Bill Berkson, and Robert Duncan, among many others. Kevin Opstedal Born and raised in Venice, California, and currently residing in Santa Cruz, Kevin Opstedal is a poet whose line leaves three decades of roadcuts across the entire imaginary West. His twenty-five books and chapbooks include two full-length collections, Like Rain (Angry Dog Press, 1999) and California Redemption Value (UNO Press, 2011). Blue Books Press, one of many of his “sub-radar” editorships, belongs in the same breath as the great California poetry houses (Auerhahn, Big Sky, Oyez...) that his own poems seem to conjure like airbrushed flames on a murdered-out junker carrying Ed Dorn, Joanne Kyger, Ted Berrigan, and some wide-eyed poetry neophyte to a latenite card game in Bolinas. “His poems,” writes Lewis MacAdams, “are hard-nosed without being hard-hearted.” As identity and ideas duke it out in the back-alley of academia, Opstedal surfs an oil slick off Malibu into the apocalypse of style. Host Steve Heilig Steve Heilig is an editor, epidemiologist, ethicist, environmentalist, educator, and ethnomusicologist trained at five University of California campuses. He is co-editor of the Cambridge Quarterly of Healthcare Ethics and of San Francisco Marin Medicine at the medical society he has long been part of. A former volunteer and director of the Zen Hospice Project, AIDS Foundation, and Planned Parenthood, he has helped improve laws and practices in reproductive and end-of-life care, drug policy, and environmental health. He is a longtime book critic and music journalist and emcee of the Sierra Nevada World Music Festival. He's been part of Commonweal for 30 years now. Find out more about The New School at Commonweal on our website: tns.commonweal.org. And like/follow our Soundcloud channel for more great podcasts.

Esta semana, dedicamos la sesión de Rebelión Sónica, a la importante banda estadounidense de avant-pop Mercury Rev, con música de su nuevo álbum “Born Horses” y del celebrado “Deserter's Songs” de 1998. “Born Horses” fue lanzado el 06 de septiembre por el sello Bella Union y es primer LP del grupo con canciones inéditas desde “The Light in You” de 2015, pues su anterior trabajo “Bobbie Gentry's The Delta Sweete Revisited”, es de covers de la legendaria cantante estadounidense. El miembro original Jonathan Donohue dijo sobre el álbum: “Desde nuestro comienzo a mediados de los 80 con David Baker hasta la grabación de “Born Horses” con los nuevos miembros permanentes, el pianista nativo de Woodstock Jesse Chandler y la tecladista austríaca Marion Genser, hemos celebrado la confianza tácita en la "estatua que ya está dentro del mármol". No hicimos “Born Horses” arrojando arcilla sobre arcilla, sino que permitimos que el tiempo revelara lo que siempre estuvo ahí”. Por su parte, el guitarrista Grasshopper y también fundador, explicó: “Cuando Jonathan y yo nos conocimos por primera vez, algo que nos unió fue “Blade Runner”, tanto la película de Ridley Scott como la banda sonora de Vangelis: esa sensación del pasado y el futuro, el ambiente inquietante del cine negro y el romance del futuro". En el Bandcamp del grupo se explica que “el título del álbum, que lleva el nombre de la majestuosa y ondulante sexta canción 'Born Horses', fue elegido porque sus palabras resuenan a lo largo de todo el disco, abarcando la idea de vuelo ("Soñé que nacíamos caballos esperando alas") y la frase "Tú y yo” que aparece en diferentes momentos del álbum. Éste no es el concepto de dos personas separadas, sino que de dos partes de uno mismo”. El texto agrega que “más inspiración la proporcionaron los espíritus del arte minimalista Tony Conrad y del poeta Robert Creeley, acólitos del pensamiento y la acción progresistas que enseñaron en la Universidad de Buffalo, la ciudad donde se formó la banda. Entre otras credenciales, Conrad fue miembro del Dream Syndicate de LaMonte Young junto con John Cale antes de formar The Velvet Underground. Creeley fue uno de los poetas estadounidenses más importantes e influyentes del siglo XX, asociado a Jack Kerouac, Allen Ginsberg y los poetas de Black Mountain”. Al final del programa, viajamos al pasado en la historia de Mercury Rev, para escucharlos con material del elogiado álbum de 1998, “Deserter's Songs”. Rebelión Sónica se transmite por radio Rockaxis los jueves a las 10 y 22 horas, con la conducción y curatoría de Héctor Aravena.

Rick Lupert zooms into The Hive. We read Robert Creeley's poem “I Know a Man,” and shamelessly display our ignorance about the great Robert Creeley, who did indeed, sometimes wear an eyepatch, and who was a powerful and engaging reader. Rick Lupert reads some fruit poems from his current book, I Am Not Writing a Book of Poems in Hawaii,  inspired by his vacation with his family to Hawaii.  Rick Lupert has been involved in the Los Angeles poetry community since 1990.  He is the recipient of the 2014 Beyond Baroque Distinguished Service Award for service to the Los Angeles poetry community.  His poetry has appeared in numerous magazines and literary journals, including The Los Angeles Times, Rattle, Chiron Review, and others.  He edited the anthologies A Poet's Siddur Ekphrastia Gone Wild, The Night Goes On All Night – Noir-Inspired Poetry and, A Poet's Haggadah: Passover through the Eyes of  Poets, and is the author of 27 books, including: Paris: It's The Cheese, I Am My Own Orange County, Mowing Fargo, I'm a Jew. Are You?, Stolen Mummies, I'd Like to Bake Your Goods, A Man With No Teeth Serves Us Breakfast, We Put Things in Our Mouths, Sinzibuckwud!, Death of a Mauve Bat (Ain't Got No Press), and more. He also writes the Jewish poetry blog From The Lupertverse for the Los Angeles Jewish Journal. Rick created and maintains the Poetry Super Highway, an online resource and publication for poets. He lives in Newhall, California with his wife Addie, son Jude, and 3 cats.

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

Read by Juliet Prew Production and Sound Design by Kevin Seaman

The Pool By Robert Creeley

Though most people spend countless hours doing financial planning for retirement, how many people do emotional planning? Retirement is a huge transition, and it's essential to think about how much money you'll have and how you will create the kind of life you want. Whether you are about to retire, newly retired, or have been retired for a long time, it's never too late to talk openly about how you feel and the difficulties and joys of retirement.In this episode, you will discover the importance of articulating anxieties about retirement, including:Making the DecisionFears of Isolation and Losing a CommunityFears of Losing Your IdentityTrusting YourselfFears of Getting SickCalming exercisesMaintaining a healthy and fulfilling retirementAbout Louise Nayer:Louise Nayer grew up in New York City, received a B.A. in Comparative Literature from the University of Wisconsin and later a Master of Arts in Humanities from SUNY Buffalo, where she studied with poets Robert Creeley and John Logan. In 1976 she put all her belongings in a '68 Camaro and moved to San Francisco, where she dedicated her life to writing and teaching. She is the author of five books, most recently Poised for Retirement: Moving from Anxiety to Zen. She kept a journal for the five months before she left her community college teaching job and wrote about the importance of emotional planning for retirement. That book also offers calming exercises to help people through that time. Her book, Burned: A Memoir, was an Oprah Great Read and won the Wisconsin Library Association Award. That book chronicles the devastating effects of an explosion in Cape Cod that burned her parents when she was four years old and left her mother facially disfigured. That book outlines the lasting effects of child-parent separation. She has also written for OZY and the San Francisco Chronicle and has been interviewed in Forbes Magazine. She is a long-time educator and member of the San Francisco Writer's Grotto. She teaches memoir classes at the Grotto through OLLI at UC Berkeley and works with people individually. She has given readings of her work at universities and bookstores all over the country and has been interviewed widely on radio including on NPR. She has two grown daughters and a stepdaughter and lives with her husband and dog, Ella, in Glen Park in San Francisco.Get in touch with Louise Nayer:Louise's website: https://www.louisenayer.com/ Buy Louise's book: https://revolutionizeretirement.com/nayer Download Louise's Handout: https://revolutionizeretirement.com/nayerhandout Grab our free guide, 10 Key Issues to Consider as You Explore Your Retirement Transition, at https://10keyretirementissues.com/

El plan es el cuerpo. Hay a cada momento un diseño. Hay a cada momento algo para todos. El plan es el cuerpo. La mente está en la cabeza. Es un momento en el tiempo, un instante, un segundo. El ritmo de uno, y uno, y uno, y uno. El dos, el tres. El plan está en el cuerpo. Retenelo un instante en la mente: retenelo. Lo que se dijo lo dijiste vos. Las dos, las tres, veces en el cuerpo, manos, pies, vos te acordás: yo, yo me acuerdo, yo lo digo, lo digo. El plan es el cuerpo. Veces que no quisiste, veces que no se te ocurre que puedas querer, vos. Yo, yo, acordate, que yo acá, yo quiere, yo está pensando en vos. El plan es el cuerpo. El plan es el cuerpo. El cielo es el cielo. La madre, el padre: el plan es el cuerpo. ¿Quién lo puede leer? Un plan es el cuerpo. La mente es el plan. Yo: al habla. El recuerdo se acumula como el recuerdo, un plan, pensé que me acordaba, al volver a pensarlo, al pensar. La mente es el plan de la mente. El plan es el cuerpo. El plan es el cuerpo. El plan es el cuerpo. El plan es el cuerpo.

"For love - I would split open your head and put a candle in behind the eyes." - Robert Creeley "I will not use my mid-stream urine; I will go to the drug store." - MeLINKS:Robert Creeley's "A Day Book: Tuesday, November 19, 1968": https://www.thriftbooks.com/w/a-day-book_robert-creeley/1408332/item/2488639/?gclid=Cj0KCQiAuP-OBhDqARIsAD4XHpdlixwlnKU5CcaAS7Kq8stZOC_t5pTdq5HlIFK-mhVIgVsBc5Q5vdUaApV5EALw_wcB#idiq=2488639&edition=4524274Me on Instagram: https://www.instagram.com/robyn_oneil/?hl=enHandwritten Notes: https://www.instagram.com/handwrittennotesontv/Me on Twitter: https://twitter.com/Robyn_ONeilMy website: www.robynoneil.com

In our first podcast our exiting Conference director, Alan Golding, talks with our in-coming director, Matthew Biberman, offering advice along with cherished memories of several major American poets and scholars including Frank Bidart, Robert Creeley, Clayton Eshleman, Susan Howe, W. S. Merwin, Harryette Mullen, Marjorie Perloff, and Nathaniel Mackey.

Adam O. Davis selects and shares poems that engage with journeys—across time, through mystery, into the past, or to shape a future. He introduces Nathaniel Mackey meditating on eternal questions (“Glenn on Monk's Mountain”), Maurya Simon reminding us that the dead surround and sustain us (“El Día de los Muertos”), and Robert Creeley poignantly speaking across time (“I Know a Man”). Davis closes by reading his poem “Interstate Highway System,” his own plea for living sparked by a 2015 road trip across America.You can find the full recordings of Nathaniel Mackey, Maurya Simon, and Robert Creeley reading for the Poetry Center on Voca:Nathaniel Mackey with jazz pianist Marilyn Crispell (2013)Maurya Simon (2019)Robert Creeley (1963)Check out Davis's Index of Haunted Houses Hotline by calling 619-329-5757.

Bolinas, writes English Professor Lytle Shaw, is “the only instance I could think of where a town was essentially governed by poets.” Shaw's thoughts are part of a new anniversary edition of “On the Mesa: An Anthology of Bolinas Writing” originally published in 1971, featuring the work of a remarkable group of poets living in or near Bolinas in the late 60s and 70s, including Diane Di Prima, Phillip Whalen, Robert Creeley, JoAnne Kyger, Anne Waldman and other icons of the period. We'll talk about the Bolinas scene, the new edition of the anthology and capturing Bolinas counterculture through its poetry.

Kate Cumiskey discovered she was a poet whilst in high school. In fact, it was her high school boyfriend who suggested she start writing things down because she saw the world in such poetical ways.She attended a class by Robert Creeley and that was when her writing life really took off. But it wasn't until about seven years ago she started writing fiction and has just had her first manuscript accepted by finishing line press. "gruelling work"This is how she describes writing poetry for her. The frame of the poem comes to her quickly, but it can take up to seven years to refine the piece.She says she learns about her work from the comments of others, and they have noticed her themes include Florida, the space programme, man's relationship to nature. We talk about why some people are very fearful of poetry and are reluctant to try it. She feels that this is because many think they have to examine and understand poetry, rather than simply experience it. We talk about "found" poems and what a straightforward way they are into writing poetry.A piece of advice she has for new poets is to describe and write about the external, rather than the internal. And she gives a great tip and writing prompt on how to do this.Kate herself doesn't write rhyming poetry in its traditional form, but she has a lot of internal rhyme in her poem. We talk about how she has struggled to know the best way to end a line. To overcome this problem, Kate uses sculpture to navigate the endings.Sculpture enables her to see the poem as a physical object and so seeing its form becomes much easier and she sees where the line ends and the next one begins.Cumiskey has worked with several small presses and she kindly shares her experiences, as well as how to find a small press to work with. She also offers some caution, encouraging you to understand your author rights, that the poems are your intellectual property and to be careful what you sign.Kate recommends Submittable as a wonderful place to find publishers for short stories and poems. She even has a top tip for Submittable which you can find out by listening to the episode! We finish our conversation with Kate sharing what she's writing at the moment and how Natalia Ginzburg's Little Book Of Virtues has inspired her to write a new essay. Connect with Kate:Authors Talk: Kate Cumiskey – s [r] blog (asu.edu)Other LinksSurfing at New Smyrna Beach - https://amzn.to/3pFaOU1The Women Who Gave Up Their Vowels by Kate Cumiskey—Finishing Line PressAllison Joseph - ALLISON JOSEPH, POET - Home (allisonjosephpoetry.com)Poets and writers website - Poets & Writers | Contests, MFA Programs, Agents & Grants for Writers (pw.org)Submittable - The Social Impact Platform | SubmittableNatalia Ginzburg - https://amzn.to/2Tr3xN9Robert Creeley Robert Creeley | Poetry FoundationWilliam Carlos Williams - William Carlos Williams | Poetry FoundationFound poetry - Found poetry - WikipediaSupport the show (https://www.patreon.com/emmadhesi)

A poem a day keeps the sadness at bay.

Production and Sound Design by Kevin Seaman

December can offer a full range of weather conditions in Connecticut, and the first week of this December here has seen two major storms, known as Nor'easters, marked by heavy rain and wind. Today I read poems about rain, including winter rain, by Matsuo Basho, William Shakespeare, Ella Wheeler Wilcox, Carl Sandburg, Elizabeth Bishop, Robert Creeley, and Ken Hada.  I end the program with one of my own poems.

El plan es el cuerpo. Hay a cada momento un diseño. Hay a cada momento algo para todos. El plan es el cuerpo. La mente está en la cabeza. Es un momento en el tiempo, un instante, un segundo. El ritmo de uno, y uno, y uno, y uno. El dos, el tres. El plan está en el cuerpo. Retenelo un instante en la mente: retenelo. Lo que se dijo lo dijiste vos. Las dos, las tres, veces en el cuerpo, manos, pies, vos te acordás: yo, yo me acuerdo, yo lo digo, lo digo. El plan es el cuerpo. Veces que no quisiste, veces que no se te ocurre que puedas querer, vos. Yo, yo, acordate, que yo acá, yo quiere, yo está pensando en vos. El plan es el cuerpo. El plan es el cuerpo. El cielo es el cielo. La madre, el padre: el plan es el cuerpo. ¿Quién lo puede leer? Un plan es el cuerpo. La mente es el plan. Yo: al habla. El recuerdo se acumula como el recuerdo, un plan, pensé que me acordaba, al volver a pensarlo, al pensar. La mente es el plan de la mente. El plan es el cuerpo. El plan es el cuerpo. El plan es el cuerpo. El plan es el cuerpo.

by Robert Creeley

Ahora reconozco que era yo todo este tiempo como una cámara que se expone a una foto o un caño por el que podría pasar agua o un pollo muerto para la cena o un plan dentro de la cabeza de un muerto. Nada muy grave si uno piensa cómo empezó todo. Dijo Zukofsky: “Nací muy joven en un mundo ya muy viejo”. Estaba bien entrado el siglo cuando llegué, y ahora que termina me doy cuenta de que no va a demorar. ¿Pero no podría haber sido un poco más amable, como diría mi mamá? ¿Había que matar todo lo que se moviera, el bien siempre tenía que estar tan mal? Sé que este cuerpo es impaciente. Sé que sólo constituyo escasas voz y mente. Y sin embargo amé, amo. No quiero sentimentalismos. No quiero más que un hogar.

In this first of two sessions we talk humbly about, around, and through Robert Creeley by way of examining two poems: "The Immoral Proposition" and "Kore" (with more to come in our next session). This talk is characterized in part by our coming to terms of our inability to come to terms with what Creeley left us past deep appreciations and some loose holds on his poetics, intermixed with wonder at how much he was able to enjamb into the finitudes of his practice: "O love,/where are you/leading/me now?"

Si la noche es el tiempo más arduo, más cercano, vienen los días. La mañana se abre con la luz en la ventana. Después, igual que ahora, el sol se trepa al cielo azul. Al mediodía en la playa podría pasarme toda la vida contemplando estas olas relucientes seguir el ruido que hacen hasta lo más profundo de la mente y los ecos: que la luz como el aire sea un alivio. El viento tironea la cara y las manos, se enfría. ¿Qué puede pensar uno? La playa es una piedra innumerable. Pasan nubes con la panza gris, racimos blancos de aire, puro aire. El agua circula por los bordes, espuma que se arremolina azul, verde, blanca. Lo que se pierda entonces, será recuperado. ¿Qué importa en este mundo como si fuera uno?

by Robert Creeley

In which the wonderful and somewhat mysterious poet Albert Glover reads from his forthcoming book, Gone as Well. Albert's statement about himself: “The poet Charles Olson, my best teacher and mentor, has been a major influence. I have also been privileged to study with Robert Creeley, Robert Duncan, Basil Bunting, Hugh Kenner, and Jeremy Prynne....

para Bobbie Ayer quería hablar de eso, el sentido que se impone sobre los demás, que para mí es importante porque todo lo que sé proviene de lo que me enseña. ¿Hoy qué es eso que siente al fin tan indefenso, diferente, pierde las esperanzas según su propio testimonio, quiere alejarse, interminablemente alejarse? Si la luna no… no, si vos no yo tampoco, pero qué no haría yo, qué precaución, qué cosa enseguida interrumpida. Eso es amor ayer o mañana, no ahora. ¿Puedo comer de lo que me das? No me lo gané. ¿Tengo que pensar en todo como algo que hay que ganarse? Ahora el amor también es una recompensa tan lejana de mí que tuve que inventármela en la mente. Acá está el tedio, la desesperanza, una dolorosa sensación de aislamiento y un grandilocuente si no caprichoso amor propio. Pero esa imagen es sólo de la vaga estructura de la mente, vaga para mí porque es mi propio amor, ¿qué pienso decir? No puedo decirlo. ¿Qué pregunta te has vuelto, en qué te he convertido, compañera, buena compañía, piernas cruzadas con pollera, o cuerpo mullido bajo los huesos de la cama? Nada dice nada, salvo lo que quisiera que se haga realidad, teme qué más podría pasar en algún otro lugar, en algún otro momento que no sea éste. Una voz en mi lugar, un eco de eso solamente en el tuyo. Dejame que tropiece no con la confesión sino con la obsesión con la que empiezo ahora. Por vos, también (también) a veces un momento más allá del lugar, o un lugar más allá del momento, sin resto de mente para decir nada de nada, esa cara ya desapareció, ahora. En compañía del amor todo regresa.

In this far ranging and fetching introduction to the term “swerve”—the first of two (saving its application to Lucretius and his brand of Epicurean thought to our next meeting)—we carve around the eruption of Mount Vesuvius (79 CE), the nature of sermons, the polysemy nature of the term, Brancusi’s “Bird in Space,” the Bill Murray-cast film adaption of “The Razor’s Edge,” Ross Macdonald’s short story “The Guilt-Edged Blond,” Paul Davies’ HOW TO MAKE A TIME MACHINE, The Hardy Boys, Dashiell Hammett’s “Flitcraft Parable,” the literary term “volta,” Sophocles’ “Oedipus Rex,” John Ashbery, chance and chaos processes, and variation on a line by Robert Creeley. To note, this call to swerve chronologically is our first session.

Production and Sound Design by Kevin SeamanFor Loveby Robert Creeleyfor BobbieYesterday I wanted tospeak of it, that sense above  the others to meimportant because allthat I know derivesfrom what it teaches me.  Today, what is it that  is finally so helpless,different, despairs of its own  statement, wants toturn away, endlesslyto turn away.If the moon did not ...no, if you did notI wouldn’t either, but  what would I notdo, what prevention, what  thing so quickly stopped.  That is love yesterday  or tomorrow, notnow. Can I eatwhat you give me. Ihave not earned it. Must  I think of everythingas earned. Now love also  becomes a reward soremote from me I haveonly made it with my mind.Here is tedium,despair, a painfulsense of isolation and  whimsical if pompousself-regard. But that image  is only of the mind’svague structure, vague to me  because it is my own.Love, what do I thinkto say. I cannot say it.What have you become to ask,  what have I made you into,companion, good company,  crossed legs with skirt, or  soft body underthe bones of the bed.Nothing says anything  but that which it wishes  would come true, fears  what else might happen insome other place, some  other time not this one.  A voice in my place, an  echo of that only in yours.Let me stumble intonot the confession but  the obsession I begin with  now. For youalso (also)some time beyond place, or  place beyond time, no  mind left tosay anything at all,that face gone, now.Into the company of love  it all returns.

I’m delighted to offer Episode 58 of Open Windows. My program today is the seventh in a series of programs that present poems written by poets living in various geographic regions of the country. My six earlier programs in this series included poets from the Southwest, the South more broadly, the Midwest, the Mountain Region of the West, the Pacific Region, and from two of the Mid-Atlantic states, New Jersey and Pennsylvania. Today's program is the first of two programs focusing on New York, which is the third Mid-Atlantic state. I read poems by poets from what is known as Upstate New York: Mary Panza, Edna St. Vincent Millay, Anthony Hecht, Carl Dennis, and Robert Creeley.

A confusão é um sentimento desvalorizado. E esse poema confuso de Robert Creeley pode nos ajudar a entender melhor o que isso quer dizer. Poema original: https://www.poetryfoundation.org/poetrymagazine/poems/28666/for-love

The Jazz Session celebrates its 500th episode with NEA Jazz Master Sheila Jordan. In this interview, Jordan talks about how a nickel changed her life; her early years on 52nd Street with Charlie Parker; her work with Steve Swallow and the poetry of Robert Creeley; her approach to ballads and teaching; and more. A Special Note: Five hundred episodes. Twelve years. The Jazz Session is, if I do say so myself, a one-of-a-kind archive of the past decade and more of this music. Hundreds of hours of stories by the people who create the music we love. I started this show in 2007 with no idea what I was doing, other than knowing I loved interviewing jazz musicians and thought other people might like it, too, if this whole podcasting thing ever caught on. When I started this show my older son was 4 and my younger son was not yet 1. Now both are over 6' tall and one is about to start college. And through all these years, all the moves, all the life changes, The Jazz Session has kept going. Now the question becomes, how much further can it go? And the only person who can answer that question is you. I'm only able to make this show because people like you make the switch from listeners to members. I'd like to be able to do so much more with The Jazz Session: more in-person interviews, more festival coverage, more travel. That's possible only if you decide that you value this show enough to support it. If you do, go to thejazzsession.com/join and become a member for $5 or $10 a month. You'll get bonus episodes, early access to every show, and more. Thank you for being here all these years. Now, become a part of the next 500 episodes by becoming a member.

The Jazz Session celebrates its 500th episode with NEA Jazz Master Sheila Jordan. In this interview, Jordan talks about how a nickel changed her life; her early years on 52nd Street with Charlie Parker; her work with Steve Swallow and the poetry of Robert Creeley; her approach to ballads and teaching; and more. A Special Note: Five hundred episodes. Twelve years. The Jazz Session is, if I do say so myself, a one-of-a-kind archive of the past decade and more of this music. Hundreds of hours of stories by the people who create the music we love. I started this show in 2007 with no idea what I was doing, other than knowing I loved interviewing jazz musicians and thought other people might like it, too, if this whole podcasting thing ever caught on. When I started this show my older son was 4 and my younger son was not yet 1. Now both are over 6' tall and one is about to start college. And through all these years, all the moves, all the life changes, The Jazz Session has kept going. Now the question becomes, how much further can it go? And the only person who can answer that question is you. I'm only able to make this show because people like you make the switch from listeners to members. I'd like to be able to do so much more with The Jazz Session: more in-person interviews, more festival coverage, more travel. That's possible only if you decide that you value this show enough to support it. If you do, go to thejazzsession.com/join and become a member for $5 or $10 a month. You'll get bonus episodes, early access to every show, and more. Thank you for being here all these years. Now, become a part of the next 500 episodes by becoming a member.

The Jazz Session celebrates its 500th episode with NEA Jazz Master Sheila Jordan. In this interview, Jordan talks about how a nickel changed her life; her early years on 52nd Street with Charlie Parker; her work with Steve Swallow and the poetry of Robert Creeley; her approach to ballads and teaching; and more. A Special … Continue reading "The Jazz Session #500: Sheila Jordan"

This week in the pharmacy we have the poet SANDRA SIMONDS! Sandra Simonds is the author of six books of poetry: Orlando, (Wave Books, 2018), Further Problems with Pleasure, winner of the 2015 Akron Poetry Prize from the University of Akron Press, Steal It Back (Saturnalia Books, 2015), The Sonnets (Bloof Books, 2014), Mother Was a Tragic Girl (Cleveland State University Poetry Center, 2012), and Warsaw Bikini (Bloof Books, 2009). Her poems have been published in the New York Times, the Best American Poetry 2015 and 2014 and have appeared in many literary journals, including Poetry, the American Poetry Review, the Chicago Review, Granta, Boston Review, Ploughshares, Fence, Court Green, and Lana Turner. In 2013, she won a Readers’ Choice Award for her sonnet “Red Wand,” which was published on Poets.org, the Academy of American Poets website. She lives in Tallahassee, Florida and is an Associate professor of English and Humanities at Thomas University in Thomasville, Georgia. Here are the poems we discuss in the episode: I Know a Man by Robert Creeley https://www.poetryfoundation.org/poems/42839/i-know-a-man Sonnet by Bernadette Mayer https://www.poetryfoundation.org/poems/49729/sonnet-you-jerk-you-didnt-call-me-up

Poet Ben Luton joins us to share some original work, as well as poems from Robert Creeley and Karin Lessing. Originally aired on February 16th 2019.

Nel 1981 Lacy incide col suo sestetto l'album Songs, con testi e con la partecipazione del poeta Brion Gysin, un artista la cui vicenda risaliva al surrealismo e si era poi intrecciata con quella della beat generation: è un altra testimonianza dell'interese di Lacy per il nesso musica/parole e per la poesia, e anche del suo rapporto personale, fin dagli anni cinquanta, con molti poeti. Un poeta su cui Lacy, assieme ad Irene Aebi, lavora intensamente, mettendone in musica molte poesie, è per esempio Robert Creeley. Fra tanti duo nei quali Lacy - molto stimolato da questa dimensione ridotta - si produce, è decisamente speciale quello con una vecchia conoscenza come Gil Evans, al piano e piano elettrico, che si concretizza in un album inciso a Parigi nel 1987, Paris Blues.

Nel 1981 Lacy incide col suo sestetto l'album Songs, con testi e con la partecipazione del poeta Brion Gysin, un artista la cui vicenda risaliva al surrealismo e si era poi intrecciata con quella della beat generation: è un altra testimonianza dell'interese di Lacy per il nesso musica/parole e per la poesia, e anche del suo rapporto personale, fin dagli anni cinquanta, con molti poeti. Un poeta su cui Lacy, assieme ad Irene Aebi, lavora intensamente, mettendone in musica molte poesie, è per esempio Robert Creeley. Fra tanti duo nei quali Lacy - molto stimolato da questa dimensione ridotta - si produce, è decisamente speciale quello con una vecchia conoscenza come Gil Evans, al piano e piano elettrico, che si concretizza in un album inciso a Parigi nel 1987, Paris Blues.

Nel 1981 Lacy incide col suo sestetto l'album Songs, con testi e con la partecipazione del poeta Brion Gysin, un artista la cui vicenda risaliva al surrealismo e si era poi intrecciata con quella della beat generation: è un altra testimonianza dell'interese di Lacy per il nesso musica/parole e per la poesia, e anche del suo rapporto personale, fin dagli anni cinquanta, con molti poeti. Un poeta su cui Lacy, assieme ad Irene Aebi, lavora intensamente, mettendone in musica molte poesie, è per esempio Robert Creeley. Fra tanti duo nei quali Lacy - molto stimolato da questa dimensione ridotta - si produce, è decisamente speciale quello con una vecchia conoscenza come Gil Evans, al piano e piano elettrico, che si concretizza in un album inciso a Parigi nel 1987, Paris Blues.

In this episode, Dave and Matt talk about their favorite literary and pop-cultural artifacts from the past year. This episode offers a contest as well, associated with the following music playlist. Good luck! TGC's Favorite Music of 2018 (iTunes) - https://itunes.apple.com/ca/playlist/the-great-concavitys-favorite-songs-of-2018/pl.u-pMyll2jh4KoErM TGC's Favorite Music of 2018 (Spotify) - https://open.spotify.com/user/concavityshow/playlist/6Gkdv29x9bpXIIzmmlWolO?si=V2aBBNKASm-70W12xwfn0g   Show Notes: *Correctional note* - When Matt was talking about Robert Coover in Marfa, he meant Robert Creeley. Dante Society - https://www.dantesociety.org/ The Great Concavity on Twitter - https://twitter.com/ConcavityShow The Great Concavity on Instagram - https://www.instagram.com/concavityshow/?hl=en Email us - concavityshow@gmail.com Patreon - https://www.patreon.com/concavityshow

Known for the warmth, humor, clarity, and depth of his teachings, Zen teacher Peter Levitt is also the author of fourteen books of poetry and prose. Legendary poet Robert Creeley wrote that Peter Levitt’s poetry “sounds the honor of our common dance.” Town Hall is thrilled to welcome Peter to the stage for an evening sharing his recent works of poetry that explores our connection to the natural world and sing the sacred in the everyday. After the readings, he was joined in conversation with poet Shin Yu Pai, Town Hall’s Inside/Out Neighborhood Resident representing Phinney/Greenwood. Sit in with Peter and Shin Yu for an intimate discussion of the complexities of human relationships and the notion of coming home to ourselves—to who and what we naturally and truly are. Peter Levitt began his Zen practice in the late sixties in San Francisco, and he received lay entrustment from Zoketsu Norman Fischer, which authorized him to teach in the lineage of Shunryu Suzuki-Roshi. He is the founder and guiding teacher of the Salt Spring Zen Circle on Salt Spring Island, British Columbia. Peter edited Thich Nhat Hanh’s classic, The Heart of Understanding, and he served as Associate and Translation Editor of Treasury of the True Dharma Eye: Zen Master Dogen’s Shobo Genzo, edited by Kazuaki Tanahashi. His ten poetry books include Within Within, One Hundred Butterflies, and Bright Root, Dark Root. In addition, he published Fingerpainting on the Moon: Writing and Creativity as a Path to Freedom. His publishing career includes fiction, journalism and literary translations from Chinese, Japanese and Spanish. In 1989, Peter received the prestigious Lannan Foundation Award in Poetry. Shin Yu Pai is Town Hall Seattle’s 2018 Inside/Out Resident representing the Phinney Greenwood neighborhoods. Shin Yu is a poet, cross-media artist, and curator for the collaborative global exploration project Atlas Obscura. Her poetic origins inform an artistic style that has grown beyond the written word—manifesting in photography, installation and public art, cross-disciplinary collaborations, and sound. She encourages us to reflect upon the essential questions of our own lives, and to explore how we see that interrogation expressed or mirrored around us. Recorded live at Phinney Center by Town Hall Seattle on Thursday, March 22, 2018. 

t's just a little after Valentine's Day, and my wife Raina and our daughter Emma join me to read and talk about love poetry. We share love poems by Gary Snyder, Denise Levertov, Robert Creeley, Zachary Schomburg, Sappho, Gerard Manley Hopkins, Louis Aragon, Anne Waldman, Tony Hoagland and Everette Maddox.

We're back for 2018! I'm starting the year off by going way back to 19th Century Japan and Tachibana Akemi's Poems of Solitary Delights, then following that thread over to Robert Creeley's ‘Talking':

In the January 2018 episode, Juliet is joined by Jonathan Coe (author of 'Like a Fiery Elephant: The Story of B.S. Johnson' and many other works) and Jennifer Hodgson (editor of 'The Unmapped Country', a collection of stories and fragments by Ann Quin). They discuss Britain's fertile post-war 'experimental' literary scene: its cultural contexts, its successes and failures, and its legacy. WORKS REFERENCED NOVELS Paul Ableman – I Hear Voices (1958) Kingsley Amis – Lucky Jim (1954) Francis Booth - Amongst Those Left: The British Experimental Novel 1940-1980 (1982) John Braine – Room at the Top (1957) Alan Burns – The Angry Brigade: A Documentary Novel (1974) Robert Burton – The Anatomy of Melancholy (1621) Jonathan Coe – An Accidental Woman (1987) Jonathan Coe – Like a Fiery Elephant: The Story of B. S. Johnson (2004) Jonathan Coe – What a Carve-Up! (1994) Henry Green - Caught (1943) Rayner Heppenstall – The Blaze of Noon (1939) Rayner Heppenstall – Four Absentees (1960) Rayner Heppenstall – The Fourfold Tradition (1961) Rayner Heppenstall – The Lesser Infortune (1953) Rayner Heppenstall – Saturnine (1943) Rayner Heppenstall & Michael Innes – Three Tales of Hamlet (1950) B. S. Johnson – Aren’t You Rather Young to be Writing Your Memoirs? (1973) B. S. Johnson – Christie Malry’s Own Double-Entry (1971) B. S. Johnson – See the Old Lady Decently (1973) B. S. Johnson – Travelling People (1963) B. S. Johnson – The Unfortunates (1969) Anna Kavan – Ice (1967) D. H. Lawrence – Lady Chatterley’s Lover (1928) Rosamund Lehmann – The Echoing Grove (1953) Iris Murdoch – Under the Net (1954) George Orwell – Animal Farm (1945) John Osborne – Look Back in Anger (1956) Ann Quin – Berg (1964) Ann Quin – Passages (1969) Ann Quin – Three (1966) Ann Quin – Tripticks (1972) Ann Quin – The Unmapped Country (edited by Jennifer Hodgson, 2018) Alan Sillitoe – Raw Material (1972) Alan Sillitoe – Saturday Night and Sunday Morning (1958) Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman (1759-1766) David Storey – This Sporting Life (1960) Philip Tew, B. S. Johnson: A Critical Reading (2001) John Wain – Hurry On Down (1953) Colin Wilson – The Outsider (1956) AUTHORS (a selection) J. G. Ballard, Richard Beard, Samuel Beckett, Rosalind Belben, John Berger, Claire-Louise Bennett, Christine Brooke-Rose, Elizabeth Bowen, Anthony Burgess, William S. Burroughs, John Calder, Angela Carter, Ivy Compton-Burnett, Robert Creeley, Marguerite Duras, Eva Figes, Patrick Hamilton, Wilson Harris, James Joyce, Chris Kraus, Hari Kunzru, David Lodge, Eimear McBride, Nicholas Mosley, Thomas Nash, Jeff Nuttall, Robert Nye, Flann O'Brien, Alain Robbe-Grillet, Nathalie Sarraute, Will Self, Penelope Shuttle, Claude Simon, Stevie Smith, Zadie Smith, Jonathan Swift, Emma Tennant, Philip Toynbee, Alexander Trocchi, John Wheway, Heathcote Williams FILMS/TV B. S. Johnson on Samuel Johnson (London Weekend Television programme, 1971) Calling Mr. Smith (dir. Franciszka & Stefan Themerson, 1943) Christie Malry’s Own Double-Entry (dir. Paul Tickell, 2001) The Eye and the Ear (dir. Franciszka & Stefan Themerson, 1944) Last Year in Marienbad (dir. Alain Resnais, 1961) London Film-Makers' Co-operative Peter Whitehead Independent Group (British Pop Art collective, 1952-55) ARTICLES Hélène Cixous, ‘Le roman experimental de Grand-Bretagne’ (Le Monde, 1967)

Daan Doesborgh praat met Lieke Marsman over Robert Creeley, romans met poëzie erin en een speciaal kastje om het verzameld werk van Lieke op te zetten. De leesclub van Lieke op het Harry Mulisch Festival vindt plaats op zaterdag 4 november, de live-opname van de nieuwe Poëziepodcast is op zondag 5 november. Meer info over het festival op http://harrymulischhuis.nl/Festival. Lees de besproken gedichten en meer in het begeleidende Vrij Nederlandartikel: www.vn.nl/poeziepodcast-11-lieke-marsman/

Since the early 2000s, Joshua Beckman has experimented with nature of performing poetry. He has traveled with gangs of poets around the country in a bus, reading in far-flung and unusual venues. He has written live improvisational collaborative poems and recently has given many one-on-one poetry readings. In this episode of The Organist, Ross Simonini speaks to Beckman about the way he reads and writes his poetry aloud, his favorite poetry recordings, and the many poets—Lew Welch, Frank O'Hara, Robert Creeley—whose verbal and performative antics have inspired him. Joshua Beckman's Poetry Mixtape For The Organist, Joshua Beckman selected eight of his favorite audio recordings of poets performing their work aloud. John Cage - Mushroom Haiku John Wieners - from Memories in a Small Apartment Lorenzo Thomas - Anuresis Eileen Myles - April 5th Bernadette Mayer - 1979 Kenneth Koch and Allen Ginsberg - Improvisation Helen Adam - Cheerless Junkie's Song Yoko Ono - Let's Go Flying Banner image of Lew Welch appears via the Poetry Foundation.

The Guests: Cooper Wilhelm: Twitter: https://twitter.com/cooperwilhelm also, http://poetryandstrangers.com/. Abiola Lawal: https://www.my-etymology.tumblr.com, Portfolio www.bee1.allyou.net, IG: Musecian The Books: “As Planned” by Frank O’Hara, Robert Creeley, James Schuyler, Sonnet 16 by Shakespeare, The Poetry Foundation http://www.poetryfoundation.org/features/audiolanding, Robert Hass, “Stardust” by Neil Gaiman, “The Hidden Messages of Water” by Masaru Emoto, “Infinite Jest” by David Foster Wallace, “Tom Sawyer” by Mark Twain, “Otherland” Series by Tad Williams, Dr. Seuss, “Hitchhiker’s Guide to the Galaxy” by Douglas Adams, “The Illustrated Man” by Ray Bradbury, “Nameless” by Grant Morrison, “Stoner Coffee Table Book” by Steve Mockus The Music: “Walk in the Sky” by Bonobo and Bajka; “Between the Bars” by Madeleine Peyroux Writing: Hit the wikipedia random article and write! Movies: “Stardust”: WATCH IT IF YOU HAVEN’T! :), “What the Bleep Do We Know?,” “American Crime Story” #inkandworm #rfb #BKiscold #poetryandstrangers #idontliketheMTAsubwaypoetry #poetry #humansofny #mysteriousnoises #shewascalledrita #molecularchemistandbiophysicisttopoet #gowherethemoneyis #thebelovedonealwaysleaves #whycanteverydaybelikeyou #bettertohavelovedandlost #ghosted #blackmagic #necromancy #wikipediarandompage #elizabethanmedicine #dontsigh #cantcontrolthesethingsyoucanonlysayyes #marktwaintherearenonewideas #everytimeyoureadapoemyoumakeitliveagain #readpoetryoutloud #memorizepoetry #recite #onthespot #swanblushes #jiminycricket #doonething #doneisbetterthanperfect #poetrycanbelonely #poetrycommunity #poetryinbrooklyn #attentiondeficitdating #babiesarealiens #babiesarenotaliens #happyvalentinesday #starsonlyshineatnight #starsarestillthereduringtheday #winter #mourning #africa #coneyisland #emfwaves #wereelectricalcreatures #love #secondhalloween #happyvalentinesday #water #watersnob #noiceinwater #thesimplicityofwater #filteredwater #snap #love #evanwilliams #antilove #catslovepoetry #poetrylovescats #loveissocoolwhenitworks #animalsacrifices #moloch

Kaplan Harris is a scholar and editor who writes about a wide variety of 20th- and 21st-century poetry, including the work of Ted Berrigan, Hannah Weiner, Susan Howe, and the Flarf poets. With degrees from North Carolina State University and the University of Notre Dame, he currently teaches at St. Bonaventure University in Western New York. For the last several years, Harris has been co-editing the forthcoming Selected Letters of Robert Creeley with Peter Baker and Rod Smith. His article "The Small Press Traffic school of dissimulation" was recently published in Jacket2.

Rod Smith is a poet, editor, and publisher from Washington, D.C. He’s a co-founder of Aerial Magazine and founder of Edge Books, which has published titles by Joan Retallack, Anselm Berrigan, Robert Fitterman, Benjamin Friedlander, K. Silem Mohammad, and many others. Smith, along with Friedlander and Mohammad, is a member of the Flarf Collective. Since 1993 he has managed Bridge Street Books in Georgetown. Rod Smith’s books of poetry include Deed (University of Iowa Press, 2007), Protective Immediacy (Roof, 1999), and In Memory of My Theories (O Books, 1996). He co-edited The Selected Letters of Robert Creeley with Kaplan Harris and Peter Baker, to be published by the University of California Press in January 2014.

_ Snacky Tunes _ is back with a brand new episode featuring Chef Johnny Zone of Howlin’ Rays Hot Chicken and musical guest Jaye Bartell. Straight from the scene in Los Angeles, host Darin Bresnitz is in conversation with Johnny, talking his serious passion for fried chicken. An LA native, Johnny shares that he has worked under some of the best chefs in the world, including Thomas Keller, Gordon Ramsay and Nobu Matsuhisa.  Last year, during a stage at Sean Brock’s Husk in Nashville, a local chef introduced Johnny to Nashville Hot Chicken. It was instantaneous love. Johnny brought back tales of this hidden gem to LA and thus Howlin’ Rays was born. In the second half of the show, Greg Bresnitz welcomes musician Jaye Bartell to the studio.  Born in Massachusetts, Jaye Bartell moved to Asheville, NC, in the early 2000s where he began playing music among friends as a parallel activity to his work with poetry and other writing. Writing was his main focus for most of a decade—a time that involved constant traveling and moving around the U.S., mostly between North Carolina and the Pacific Northwest, where he lived on a small island in northern Washington. It wasn’t until Jaye moved to Greenpoint, Brooklyn in the fall of 2013, where he began working on the new set of material that will furnish his next release — a set of songs that examine and resist transcendence, dissociation, and departure to “find a home on earth” as Robert Creeley wrote, and take images and inspiration from hot air balloons, Spalding Gray, and the neighborhood around McGolrick Park. “The beauty to me is its [hot chicken] relatability in all culture… Why I fell in love with it is the heat really opened up my palate, it gave me a different sensation!” [28:45] –Johnny Zone on Snacky Tunes

PennSound, a project of the University of Pennsylvania’s Center for Programs in Contemporary Writing, is an excellent audio archive, with pages dedicated to BMC rector and instructor Charles Olson and BMC alumnus and poet Robert Creeley. Click here for the studio recording at Black Mountain College of Olson reading from Maximus, and here for his […] The post Sounds of BMC appeared first on Black Mountain College Museum + Arts Center.

Wednesday Reading Series Author of over 20 books, Will Alexander works in multiple genres. Aborginal Salt: Early Divinations is a compendium of early work is due out from White Print Inc in Detroit, as well as a 2nd edition of Towards The Primeval Lightning Field to be published by Litmus Press. Winner of a 2013 American Book Award for his book of essays Singing In Magnetic Hoofbeat, he continues to draw in pencil while typing his second book of plays. Jennifer Moxley (b. 1964) studied literature and writing at UC San Diego and the University of Rhode Island and received her M.F.A. from Brown University in 1994. She is the author of six books of poetry, most recently The Open Secret (Flood Editions 2014), a book of essays, and a memoir. In addition, she has translated three books from the French. In 2005 she was granted the Lynda Hull Poetry Award from Denver Quarterly. Her poem “Behind the Orbits” was included by Robert Creeley in The Best American Poetry 2002. She is Professor of Poetry and Poetics at the University of Maine.

Welcome to conversation and poetry with Louise Nayer, a native New Yorker, now San Franciscan. She has published two books of poetry: Keeping Watch (with funding from the NEA) and The Houses Are Covered in Sound (Blue Light Press). Louise attended SUNY at Buffalo for graduate school where she studied with poets Robert Creeley and John Logan. She co-authored a non-fiction book with Virginia Lang, How to Bury a Goldfish: Celebrations and Ceremonies for Everyday Life (Rodale). Her book Burned: A Memoir (Atlas and Co.) was published in 2010 and won the 2011 Wisconsin Library Association Award and was a finalist for the USA Book News Award.

Welcome to conversation and poetry with Louise Nayer, a native New Yorker, now San Franciscan. She has published two books of poetry: Keeping Watch (with funding from the NEA) and The Houses Are Covered in Sound (Blue Light Press). Louise attended SUNY at Buffalo for graduate school where she studied with poets Robert Creeley and John Logan. She co-authored a non-fiction book with Virginia Lang, How to Bury a Goldfish: Celebrations and Ceremonies for Everyday Life (Rodale). Her book Burned: A Memoir (Atlas and Co.) was published in 2010 and won the 2011 Wisconsin Library Association Award and was a finalist for the USA Book News Award.

An anthology of 8 introductions to readings by Robert Creeley from 1961 to 1996, from PennSound's Creeley author page.

Featuring Kyger, Creeley, and Hewlett in casual conversation, this is an excerpt of a longer discussion. Hosted by Amaris Cuchanski.

Playliste de Christophe Manon pour webSYNradio : Jours redoutables avec Pierre Albert-Birot, Antonin Artaud, John Ashbery, Charles Bernstein, Jean-Louis Brau, Camille Bryen, William S. Burroughs, John Cage, Augusto de Campos, Louis-Ferdinand Céline, Henri Chopin, Robert Creeley, François Dufrêne, John Giorno, Pierre Guyotat, Raoul Hausmann, Ernst Jandl, Joachim …,...

Archival recordings of the poet Robert Creeley, with an introduction to his life and work. Recorded in 1961, Library of Congress, Washington, DC.

Mimi White has been teaching creative writing for twenty-five yearsand was Co-Director of PicturePoets of AIR, a non-profit organizationthat provides enriching arts and cultural experiences to teenagegirls. She has been a finalist and a recipient of a NH StateFellowship in Poetry. Her chapbook "The Singed Horizon" was selectedby Robert Creeley as the recipient of the 2000 Philbrick PoetryAward. Poet Laureate of Portsmouth, New Hampshire 2005-2007, she iscurrently working to reduce the effects of global warming as a memberof Rye, New Hampshire¹s Energy Committee.

Mimi White has been teaching creative writing for twenty-five yearsand was Co-Director of PicturePoets of AIR, a non-profit organizationthat provides enriching arts and cultural experiences to teenagegirls. She has been a finalist and a recipient of a NH StateFellowship in Poetry. Her chapbook "The Singed Horizon" was selectedby Robert Creeley as the recipient of the 2000 Philbrick PoetryAward. Poet Laureate of Portsmouth, New Hampshire 2005-2007, she iscurrently working to reduce the effects of global warming as a memberof Rye, New Hampshire¹s Energy Committee.

Just in Time: Poems 1984-1994 (New Directions) On the occasion of a Lannan Lifetime Achievement Award, Robert Creeley discusses the many influences on his singular poetry: Ezra Pound, William Carlos Williams, Charles Olson, Louis Zukofsky and Robert Duncan. In addition, he talks about the love of family and friends that has united his influences and his past into a "company."