|
July, 2005
Aug. 2005
Sept. 2005
Oct. 2005
Nov. 2005
Dec. 2005
Jan. 2006
Feb. 2006
Mar. 2006
Apr. 2006
May 2006
June 2006
July 2006
August 2006
September 2006
October 2006
November 2006
December 2006
ČERVENÁ BARVA PRESS NEWSLETTER
Gloria Mindock, Editor Issue No. 19 January, 2007
INDEX
POETRY READINGS
THEATRE:
Welcome to the January, 2007 Newsletter.
Happy New Year!!!
The winner of the 2006 Poetry Chapbook Prize is Anthony Russell White for his manuscript called Ferrovie.
Congratulations to you Anthony!
I would like to name the top finalists.
- 2nd place: Anne Harding Woodworth
- 3rd place: Diane Wald
- 4th place: Chad Parentheau
- 5th Place: Linda Nemec Foster
- 6th Place: Ben Wilensky
- 7th Place: Francis Alix
- 8th Place: Steve Wingate
- 9th place: Myrna Amelia Mesa
- 10th Place: Jendi Reiter
I would like to thank everyone who entered the contest.
It was not an easy decision because most of the manuscripts were so well written. It was so enjoyable reading them all.
The contest was judged blindly. I want to remind everyone of this. I believe very strongly in fairness.
Again, thank you so much!
Interviewed this month are John Bradley, Diana Der-Hovanessian and
Larissa Shmailo. Thank you so much for doing the interview!
Thank you to editors Bill Mayo and Jay Ross
of Indian Bay Press/Poesia for their interview in Poesia News.
It appeared in December. They both have been so good to me and Cervena Barva Press. I am so grateful to them.
If you haven't seen my interview, check it out.
http://www.indianbaypress.com/?pages/news_letters/news_letter_0612
On the Poesia Website, browse around and read about their literary magazine and subscribe.
They depend on subscriptions and fund-raisers to survive and to publish. They also are NOT
a non-profit organization. It is a great quarterly magazine. They publish many translations
from writers from all over the world.
http://www.indianbaypress.com/?pages/welcome
Out Of The Arcadian Ghetto, a fiction chapbook, by Ian Randall Wilson will be out within a few weeks.
I will be sending everyone a press release.
Go back to The Lost Bookshelf, part of Cervena Barva Press, and browse around.
Books are continuously being added. http://www.thelostbookshelf.com
Besides selling Cervena Barva Press books, I feel it is important to sell books for other
authors/publishers on consignment. I am constantly getting new arrivals. It is so exciting!
Please spread the word around about the bookstore. I want to see more books sold! If anyone
wants to send books, visit the site for guidelines and information.
I will be sending everyone a bookstore flyer to e-mail out to those on your e-mail list.
Hey you can even print some up and post them at a few places if you like. I would be so grateful!!!!
2007 will be a very busy year with many chapbooks and books forthcoming.
For those writers being published, be patient. Things seem to take longer than I always think it will.
I will try to keep authors posted about their chapbooks, postcard series and books.
Everything accepted for 2007 will be out in 2007!
I would like to thank my Webmaster for all the work he did last year on the press and all the work for this year.
I am keeping him very busy! He is the one that gets the chapbooks/books ready for publication,
and posts my newsletter on the Web besides the bookstore.
If anyone is interested in volunteering with publicity, please e-mail me. This would start in February.
Payment would be in chapbooks. This would only be a few hours a month.
One new change will be happening. I plan on increasing the amount of e-books to be published.
I love the idea of publishing chapbooks/books online. It is really a wonderful way to
have your work read by quite a few people! I think it is also good exposure to be seen
by other editors and publishers who also solicit work like I do.
Congratulations to Gaynel Gavin. One of her poems called, Remembering the Bear,
is included in the anthology, Best New Poets, 2006. (Edited by Eric Pankey)
To order: Best New Poets, 2006
50 Poems From Emerging Writers
$11.95
www.bestnewpoets.org
Check out her book, Intersections, at The Lost Bookshelf also.
Congratulations to Molly Lynn Watt. Her poetry book, Shadow People,
is being published by Ibbetson Street Press.
Here is a blurb taken from Ibbetson Street
Fred Marchant ( Author of "Full Moon" and Director of the Poetry Center at
Suffolk University in Boston) writes of Molly's book: "Shadow people begins
far away and takes us on a journey home. We move from the Mendenhall Glacier
in Alaska to the Redline in Boston....We begin as observers but by the end
of the book we have joined with Molly Watt in the dance of her life, and our
own."
Copies can be purchased at http://www.lulu.com or through the
Ibbetson Street Press
25 School St.
Somerville, MA 02143
Congratulations to Anne Brudevold for the publication of her chapbook Luminal Wait.
(Eden River Press)
Chapbook is available for sale at The Lost Bookshelf.
http://www.thelostbookshelf.com/poetrychapbooks.html#Luminal Wait
On the site, you can read blurbs on Anne's writing.
- Some interviews to come in 2007 are by: Andrey Gritsman, Gary Fincke, Martha Collins, Don Share, John Amen,
Louis McKee, David McNamara, Nahid Rachlin, Hugh Fox and others.
Write a bio.
I was born in Brooklyn, and grew up all over the
place--Germany (though I was only two and can't recall
it), Framingham, Massachusetts; Lincoln and Omaha,
Nebraska; Massapequa and Lynbrook, New York; Wayzata,
Minnesota. My father was a travelling salesman, so
our family was always on the move. One constant in my
life was a love of books. Rock music came along, and
my interest in song lyrics (Beatles, Doors, Jefferson
Airplane, etc.) made me want to try writing poetry.
I've attended poetry workshops with some great
teachers over the years--James Moore, Kate Green,
Michael Dennis Browne, Tom McGrath, Bill Tremblay,
Howard McCord. And I've been blessed with some dear
friends who've taught me more about poetry than I can
ever say. My wife, Jana, is also a great reader, and
a tough critic.
Describe the room you write in.
I write at a wooden table by a second-story window
looking out over the backyard. There's a huge maple
tree there, and in spring and summer, all you see is a
swaying wall of green. But I'm usually staring at the
computer screen--an old Mac--and playing around with
words to see what might happen if I try this or that.
Who are you reading now?
I'm reading "My Tired Father," by Gellu Naum,
translated from the Romanian by James Brook. The
book, a series of short prose lines, was made by the
author's cutting and combining sentences from many
different kinds of texts. I don't think I've ever
read anything quite like it. Here's an example:
"Ageless women gravitated around us The heads of some
of them emanated light" (There's no punctuation in the
book.)
Who are some of your favorite poets?
There are so many--Cesar Vallejo, Tom McGrath,
Muriel Rukeyser, Hilda Morley, Denise Levertov,
Kenneth Rexroth, Martin Espada.
What are you working on now?
I'm working on a poetry manuscript about my brother,
a stand-up comic who took his life in 1999. And I
have a collection of poems written in the persona of a
Chinese poet. The manuscript's completed but needs
final editing. I've also been gathering poems for an
anthology in homage to Thomas McGrath.
Talk about your book, "Terrestrial Music," just
published by Curbstone Press.
There's a theme that runs throughout the
collection--our connection to the earth. There are
poems of place, love poems, political poems. All
bring us back to where we live, how we live, and the
consequences of our actions and the actions of others
on us and this planet. But I'm making it sound very
abstract. These poems are not. They're often quite
simple and direct, with everyday experiences, such as
watching salt sizzle on icy front steps.
Other books you published include "Love-In-
Idleness: The Poetry of Roberto Zingarello," which
won the Washington Prize, "Learning to Glow: A
Nuclear Reader" (Univ. of Arizona), and you edited,
"Atomic Ghosts: Poets Respond to the Nuclear Age"
(Coffee House). Discuss the role your poetry has in this Nuclear age.
I think the Nuclear Age has a huge effect on all of
us, whether it's the psychological fear of living with
the possible destruction of the Earth, or the
radiation we all carry in our bodies from nuclear
tests that the US and other countries have conducted,
not to mention Chernobyl. I wonder what role nuclear
fallout has played in the cancer rate--something we'll
probably never know. The Bomb haunts many of my
poems--there's an entire section of "Terrestrial
Music" dealing with the Bomb and its offspring. I
think poetry offers a unique lens to see our obsession
with the atom. My hope is that these poems might
spark more interest in our nuclear history. Our
nuclear story really needs to be brought out of the
closet.
Personally, I am against all Nuclear
power/technology. This has caused some debate between
many of my friends and I. Do you find yourself facing
the same situation.
I rarely hear debate about nuclear power. Maybe
because I live in the state that has the most nuclear
reactors, and Illinoisians have grown accustomed to
it? A woman who was undergoing radiation therapy for
cancer told me something profound. She said radiation
had given her cancer, because she was living in Oak
Ridge, one of our nuclear sites. And radiation,
through radiation therapy, was saving her life. She
showed me how complex this topic is. But I don't see
how we can keep producing more nuclear waste when we
don't know what to do with it. And all this waste
provides a target for terrorists.
You currently teach at Northern Illinois University
in Dekalb, Illinois. What do you try to teach your
students about writing?
I hope I convey a love of reading and writing, the
sense of discovery writing can produce, the beauty of
language when crafted. I rarely bring poetry to my
composition classes as so many of my students hate and
fear it, though we've recently discussed some poems in
a reader we're using. "Richard Cory" is still timely
for my students, which surprised me.
What challenges do you face if any inside Academia?
The main challenge is getting students who've been
turned off to reading and writing to enjoy these
activities. And I'm always competing with the cell
phone, that constant presence in the classroom, no
matter how many times I ask that they be buried at the
bottom of the backpack. One colleague told me that
teachers need to see the cell phone as chewing gum in
the classroom--an irritant you just grow to live with.
I'm trying to get there, but I have a long way to go.
Gloria…Diana, write a little bio.
Diana…Well, when I told my grandfather I was going to be a poet. This was when
I was in college and he asked me what I was studying and wanted to become.
He said " Oh! We Armenians have too many poets. What we need are journalists
to tell our story."
Gloria…And so, did you become a newspaper woman?
Diana… For awhile. I started out after school working on a Daily,
the Medford Mercury. I really learned everything, police reporting,
headline writing, page make-up. When I went to New York I worked
in the beginning at the lowest rung of Associated Press, then at a young people's weekly news magazine called Young America.
But you want to know about my poetry writing?
Gloria…When did that begin?
Diana…As children we heard a lot of poetry from both parents, my mother recited Henry Wadsworth Longfellow and my father,
Armenian poets, whom I didn't appreciate at the time. We were encouraged, my sister, brother and I, to write poems too.
We were expected to write poems for gifts for special days. Actually my sister was considered
the poet in the family.
Gloria…Did you start translating early?
Diana…Heavens, no… My father would really be surprised at how much work I've done with Armenian poetry. When I was in college
and already writing verse, a friend of the family came and asked me to translate a poem by Sylva Gaboudikian, the most famous
woman poet in Armenia. I remember shocking the woman, after all I was a foolish teen-ager in love with Emily Dickinson etc and
I said, Oh, this is so corny and obvious. The woman thought I was a horrible girl. She would have been surprised, and my father too
at all the books of Armenian poetry I translated after the terrible teens! The poetry was so beautiful and it needed to be done
by a poet, not by an academic. The early translations were all done by linguists who knew the language, but left out much of the soul and music.
Gloria…Your grandparents came from Armenia? Did you lose family members in the genocide?
Diana…My grandparents were here. My mother was born in Worcester. My father was there, was a young student at a French
college in Mezere Kharpert and the priest told the boys, "Word has come that tomorrow we have to evacuate the school
and leave for a few weeks."
My father decided not to wait, but leaped on his horse and went home that night. The next day the boys were probably
all shot. He went home, found a gun and went into the hills looking for guerilla fighters to join. He eventually joined
General Murad and fought in the battle that freed some of the country, the first Republic of Armenia.
He was sent to the U.S. to study agriculture. That's what the young country needed.(It was an independent
country until the Soviets took it over and he had nowhere to return.)
Gloria…And your mother was here?
Diana …Yes. Her father in 1915 was en route to Armenia to adopt his widowed brother's child but WWI started and he
was turned back in England and never got to Armenia. All his family was wiped out. But in all my childhood he never
told me this. I had to find out later.
Gloria…But you go to Armenia now. Is it to their old home?
Diana…No, that's in the possession of the Turks. I go to Yerevan.
Gloria…You've been a Fulbright professor of American poetry at Yerevan State University in 1994 and 1999.
What did you teach your students about writing?
Diana…At Yerevan State University my lectures were on American poetry. And I found the students the brightest,
most enthusiastic and best read young people in the world. Actually most of them were young women. And I have
stayed friends with a number of them. Especially with three who worked for me, with me, gathering poems for my
anthologies when summer came. One of them, Armineh, came to stay with me one summer and she came to all the New England Poetry programs.
Gloria…I want to ask you about New England Poetry Club. But have we finished with your Fulbright stays in Armenia?
Diana…You asked about teaching writing or conducting workshops in writing. I did that at the
American University of Yerevan and also at the Brusov Institute. At the American University I
had older students because it was an extension class.
Gloria…What poets did you introduce that they really liked. And you, what poets do you read and reread?
Diana…One of the interesting things, especially in 1994 was learning that they knew more about modern American
poetry than their own. They had been deprived of Varoujan and Siamanto. They knew Walt Whitman but since the Communists did not
have Narek the great theologian and poet on their reading requirements these kids did
not know that Charents's cascading chants and list poems came not from Whitman but
from Narek. When they were helping me translate I found that they had been deprived
of the vocabulary of the Bible and church. They thought Hampartsoum meant a flower or a guy's name,
not resurrection. And I, whose Armenian is absolutely punk found myself
teaching …a little bit.
Gloria,..Where did you learn?
Diana…From a grandmother and from every course given in Armenian language and civilization at Harvard. And before that at Boston U.
Gloria.. Let's get back to NEPC. They have such wonderful programs, readings, contests.
What is the biggest challenge of being president?
Diana…Well the time involved. It steals a lot of time from writing. I remember
when I first became president we had James Merrill as the guest poet . He was sitting next to me
at dinner and gave me the best compliment and best advice which I didn't take. He said.
"Why are you doing this, Diana. You're a very good poet and you shouldn't take administrative jobs."
And I said. "But I would never have met you if I hadn't."
I would be a better president if I were a better administrator or could delegate more efficiently
or if we had someone to write grants…the club would be in a much better position.
(So if someone reads this who wants to write grants for us. Please help!)
What I have done is democratize the club. It used to be more of a literary circle of good
poets who met at the Harvard Faculty Club for dinner to hear a guest poet afterwards.
Actually Amy Lowell who founded the club wanted to bring big name poets
to Boston and have large readings available to the public and I went back to that.
Gloria… You have 22 books of poetry and translations. Your 23rd, The Second Question from Sheep Meadow Press is due in January?
Diana ….It will probably be late. It's been at the press about three years.
Gloria…Do you want to say anything about it?
Diana…It has a section of my light verse... things such as For Women's Rib;
Man might have been a lot wiser
If Eve came first as supervisor.
Write a Bio about yourself.
I was born into an unusual family. My parents were non-Jewish holocaust survivors of the Nazi camp Northausen.
They were slave laborers there, building components, unbeknownst to them at the time, of V-2 rockets.
They did not speak easily of their experiences, but when they did, they spoke with great power.
I recorded some of what they told me in the poem How My Family Survived the Camps. The advice there,
"Keep breathing," was drummed into me: Everything can be replaced except life. I deeply regret not
interviewing my parents more extensively about their lives in the Soviet Union during Stalin's purges
(my father's father was executed and my mother's father imprisoned) and during WWII and their immigration.
Therein lies an epic tale.
There was a great spirit of carpe diem in my home; one of my father's favorite sayings was "It's only money."
I was spoiled rotten. My family wasn't rich but I went to Swiss and Ivy League schools, and if I were unhappy,
my mother would say to my sister: "Lora is depressed. Take her to the ballet." Even though my mother loved the
arts she was adamantly opposed to my being an artist-she feared the potential financial insecurity. Before she
died, however, she embraced my poetry and became my biggest fan. That was very meaningful to me.
I led a very wild youth. At age 13 I ran away to what I thought was the Woodstock Commune. A bad map reader,
I inadvertently hitched to Woodstock, Vermont, on Flag Day. I still hear the glockenspiels from the parade.
There were some very painful parts to this youth, others pretty interesting.
I was very political, a vulgar Marxist as a snotty boyfriend termed me. I got to see punk rock develop.
I saw Patti Smith perform in a neck brace at CBGB's and I fell in love with that shaman then. I danced in
Mexico in a staged recreation of Zapotecan rituals. I remember attending a syncretic feast celebrating
Catholic saints and a native pig god on Cancun before it became a tourist trap. Six years later, my first
husband Steven died on our honeymoon - he drowned while we were scuba diving in Cancun. Death at Sea is
about this dear, dear, wonderfully funny, intense, and intelligent man.
I wrote fiction and plays when I was younger. I wrote six pretty good poems in my twenties but I became a poet,
the kind of poet Pushkin spoke of when he said "Poets need listeners like drunks need vodka" in my thirties.
I had particularly productive years of writing and performance in the 90s, and then came to a halt in this
century at the time of another catastrophe, the death of my godchild and niece; the mourning for this child
was written one word at a time in the poem California. In the past two years I have returned to poetry in a
very strong and passionate way, reading it, writing it, performing it, exploring it everywhere it can be
found. Nothing much stops me in this pursuit, not daily obligations, not unhappiness, not even my critical
inner voice saying, you silly. I look forward to a quiet middle age with a great deal of time for writing
books and recording CDs.
Describe the room you write in.
I journal and make rough notes longhand in a fairly spare and open room full of bookshelves and books simply
piled upon themselves. I'm trying to make this room prettier since I spend so much time in it and have made
some strides, potting plants, hanging framed posters and such. Next door, I have a small office with a laptop,
a compact OED, toys, a large Herkimer diamond in matrix, and a very large circular wooden lamp made from the
knotted cross-section of a tree. Of course, there are more bookshelves and tables groaning with books. I have
some lovely geodes but the doubly-terminated Herkimer diamond is my favorite because I pick-axed it out of
the earth myself.
Who are some of your favorite poets? Who do you read over and over again?
I wouldn't live in a world without Auden. "You shall love your crooked neighbor/with your crooked heart.
And of course Lullaby-love without blinders, more powerful than age or corruption. There is also Achille's
Shield--a political poem, if you will, for those of us who always want to have a world where people weep
because others do. And I have a tape of Richard Wilbur reading Walking to Sleep -I can listen to it every day.
I love it for the same reason that I love Auden, for the music and the words, but also because of the poets'
willingness to make the journey through an often terrifying world. Pushkin is essential, and I will be studying
him more as I try to write more rhyming translations from Russian. Elizabeth Bishop is wonderful: I wish
I could write a poem as good as The Moose. I love Mayakovsky-I mean I have a crush on him-- and you can keep
your Tender Buttons knockoffs: Today's experimental writing is 20 years behind the work of the co-signators of
The Slap in the Face of the Public Taste: Burliuk, Mayakosky, Khlebnikov, Kruchenych. Of course, Anna Ahkmatova
and Joseph Brodsky-these two are top of the list, and on my translation list.
Discuss your newest CD, The No-Net World. Why did you decide to record a CD of poetry?
Please talk about the poems in this CD and the cover photo.
I sat up in bed one day in fall 2005 and said to myself, record a CD. So much of my poetry developed at
the mic; I did a lot of radio; it seemed natural to record the pieces I had read so often. I've been
told that my work is rhythmic and musical. And I selected pieces that would benefit from being recorded.
Johnny I Love You Don't Die is a ballad and has insistent trochees that convey the approach of death.
The title poem, The No-Net World, is written in the second tense which directly confronts the listener:
You! The slide into poverty described in that poem is made with jazz rhythms. How My Family Survived the Camps
is a narrative, a story I heard and am passing on. Madwoman has Bobby Perfect's amazing blues guitar behind it
and I chant parts of Death at Sea. These poems work in audio.
The No-Net World includes a variety of love poems ranging from the humorous For Six Months with You to
the sexual Quantum Love and Williamsburg Poem. There are two and a half translations, a Pushkin, a Mayakovsky,
also love poems, and the half being a reworking of imagery from Joseph Brodsky's poem New Life.
As translator, I like to seed my poetry with phrases from foreign languages, for the contrast and
drama and melody. The political poems on the CD, I think, are typically human responses to what I
learned working at soup kitchens, Medicaid mills, and housing for mentally ill homeless people---and
that reaction rages from the indignation of the granddaughter in Hunts Point Counterpoint to the full-out
punk rock rage of Lager NYC. I had the benefit of working with Bobby Perfect, guitarist
extraordinaire-composer--producer-engineer-renaissance man, for The No-Net World and my only regret is
that I wish I had asked Bobby to play on more of the tracks. I look forward to working with him again
on another CD in the future.
The cover photo of my parents is meant to honor my family. My parents gave me the invaluable legacy of
values and a sense of humor. I also wanted my amazing sister and aunts and uncles to see and hear this CD,
because it is about them too, and all courageous people like them, those who have truly understood the meaning
of carpe diem, those who know that life is very precious-and everything else can be replaced.
You have translated a Russian Futurist opera called, Victory over the Sun, by A. Kruchenych for its
performance at the Brooklyn Academy of Music's Next Wave Festival. What was this experience like for you?
Has the opera been performed elsewhere?
The opera began at Cal Arts and the Los Angeles County Museum of Art, then debuted in New York at
The Museum of Natural History. It then was staged at the first Next Wave Festival at BAM.
It went on to the Hirsshorn. There is a DVD of the original Cal Arts production in the permanent
collection of the New York Museum of Modern Art. It has been presented at many theaters in Europe,
and there have been new productions in the 90's and the 21st century.
Translating this piece was like no other translation experience-there were neologisms, sounds evocative
of words but not actually words, strange compound words, odd semantics, odd syntax-it was different. I had
some knowledge of Futurism but this transrational work was daunting. Luckily, I had none other than the great
avant garde scholar Charlotte Douglas to vet my translation. But I love the opera-the courage to battle the
Sun and the willingness to search for the new, even if it took you to dark places-in many ways, the work is
still ahead of some of today's avant poetry.
Have you translated other writers? If so, who?
Some Joseph Brodsky-if I could translate Landscape with Flood, his last book, before I die, I would be very happy.
Some Akhmatova. I've done a few Mayakovsky poems and I want to translate more of the"Handsome-22-year-old,"
specifically, Brooklyn Bridge. I've done a few Pushkin poems over the years. I did Baudelaire's Beauty and I think
that's all the French that I've done.
You run the Sliding Scale Poetry Series in NYC. When did you first start this series?
I was very active as curator of this series between 1993 and 1996; it was a weekly open mike with excellent
features and I was proud that I paid them. There are many Def Poetry Jam stars that appeared at Sliding Scale.
Afterwards, I focused on special events; most recently I joined with Christine Goodman and Mike McHugh and Ekayani
to organize an alternative to the defunded 2006 Howlfest; poets included Jackie Sheeler, Bob Holman, Regie Cabico,
and Hal Sirowitz, among others. I've had some exceptional shows. Sometimes I kick myself-I once had Edwin Torres, Todd Colby, and Anne Elliott
all together on the same show and I didn't record it. Curating is a responsibility!
What are you working on now?
I have a new poetry book, Shore, and I am looking for a publisher. I also am reading a range of new poetry-including
computer-generated work, minimalist work, language poetry. This is influencing my writing. I am also working on a
script for a radio drama.
Any last comments or something you would like to share that wasn't asked?
I feel very privileged to be a member of the community of poets. Where else can you find such creativity,
forgiveness of eccentricities, and good, spirited debate?
(These readings current as of January 1st, 2007- go to the Readings page to see updated listings!)
Out Of The Blue Gallery
USUALLY the 1st FRIDAY of the MONTH! DIRE SERIES-$4, Signup 7:30, Begins 8 PM, Host:
Tim Gager.
January 5th
Aafa Michael Weaver, Clea Simon and Fred Dillen
February 2nd
Jamie Cat Callan, Jeanette Angell, Meg Kearney
March 2nd
John L. Shepard, Evan Manderay
1st SUNDAY of the MONTH! DEMOLICIOUS POETRY, $5, 2PM, Host: John, experimental poetry.
EVERY MONDAY NITE, Stone Soup Poetry (Host: Chad Parenteau), a 35 year old venue, $4,
sign up to be a feature - call Bill Perrault at 978-454-7423.
Starts at 7:30PM and don't forget to sign up!
Recorded on local t.v. station.
USUALLY the 3rd FRIDAY of the MONTH! NOLA’s TIGH FILI POETRY & OPEN MIC, $5, 8PM, Host:
Nola, poems/prose.
EVERY SATURDAY NITE - “OPEN BARK” POETRY/MUSIC/STORIES with Debbie: 8:15 PM, $3-5.
(Read your favorite poem-sing your favorite song-bring a friend!), Occasional Features. Sign up.
Out Of The Blue Art Gallery
106 Prospect Street
Cambridge, MA 02139
phone: 617-354-5287
Doc Brown's Traveling Poetry Show
at the Lily Pad
Doc Brown's Traveling Poetry Show
at the Lily Pad
(formerly the Zeitgeist Gallery)
Monday evenings from 7:30-9
now through December
Admission $5.
The Lily Pad
1353 Cambridge Street
PO Box 398096
Inman Square
Cambridge, MA 02139
617-388-1168
http://www.lily-pad.net/
See poets perform their own work
about Harleys, hockey, henna,old hardware stores, high school cafeteria fights, and those are just the women!
Plus a bunch of butch bards, birdmen, battlers, boygods, B-movie directors, and brash old men.
This talented group of journeymen poets do their fast-paced 90 minute show.
well-crafted poems, no cheap sitcom one-liners, but poetry, the real thing,
performed for your pleasure and pain, thrills and tears with a different show every Monday night at 7:30 for $5.
Contact: Michael Brown
Info: 508-759-2752
michaelbrown2@verizon.net
http://www.myspace.com/docbrowntroupe
Valerie Lawson
SoShorePoet@aol.com
Images & Imagery
Brockton Library Poetry Series
Saturday, January 20th, 2007, 2-5 PM:
Charles Coe
Jean Monahan
Saturday, February 16th, 2007, 2-5 PM:
Maria Conley
Saturday, March 17th, 2007, 2-5 PM:
Marguerite Guzman Bouvard
Becky Thompson
Saturday, May 18th, 2007, 2-5 PM:
Ryk McIntyre
Brockton Library
304 Main St, Brockton, MA
Cambridge Cohousing presents
The Fireside Reading Series
How to get to Cambridge Cohousing:
Cambridge Cohousing is located just north of Porter Square at 175 Richdale Ave.
From Massachusetts Ave., turn onto Walden St. Go over the commuter rail tracks and
immediately turn right onto Richdale Ave. Cambridge Cohousing is the complex of
yellow buildings. Walk through the main gate at 175 Richdale Ave. to the common house.
For further information or directions, please contact Jenise Aminoff, 617.576.2004,
jenise@alum.mit.edu or Molly Watt, 617-354-8242,
mollywatt@comcast.net.
For more information, go to http://www.cambridgecohousing.org/poetry/.
To join our mailing list, send email to poetry-request@cambridgecohousing.org.
Draft to date of Eighth Fireside Series Schedule 2006-7
Tuesday, January 2, 2007
7:30 PM
Readers: Annie Deppe and Ted Deppe
Tuesday, February 27, 2007
7:30 PM
Readers: Fred Marchant and Mala Radhekrishnan
Tuesday, March 27, 2007
7:30 PM
Readers: Jean Alonso and H. Susan Freireich
Tuesday, April 24, 2007
7:30 PM
Readers: Steve Glines and Lolita Paiewonski
Tuesday, May 29, 2007
7:30 PM
Readers: Bernadette Davidson and Elizabeth Quinlan
Tapestry of Voices and the Forest Hills Educational Trust present
Sunday, January 14, 2 pm Poetry in the Chapel
Iris Gomez, Mark Pawlak, Michael Perrow, Molly Lynn Watt
In Forsyth Chapel at historic Forest Hills Cemetery
95 Forest Hills Avenue, Boston, MA
617.524.0128
Admission: $5
Info: http://www.foresthillstrust.org
The Blacksmith House Poetry Series
February 5th
Susan Berne
February 12th
Lee Bricetti and Lisa Seawell
February 26th
New Voices: Emerging Writers
March 5th
Rebecca Goldstein and Ann Harleman
March 12th
Nathaniel Bellows
March 19th
Laure-Anne Bossellar and Kathryn Maris
The Blacksmith House Poetry Series
56 Brattle St.
Cambridge, MA
8:00 PM
$3.00 Admission
92nd Street Y Reading Series
92nd Street Y Reading Series
Lexington Avenue at 92nd Street
New York, NY
PERCH Reading Series
January Reading Schedule
7:30 PM
FOLLOWED BY OPEN MIC
January 2-Mitch Levenberg has published short stories in Fiction Magazine, The St. Ann’s Review, The
New Delta Review, Fine Madness, The Common Review and other journals. His collection of stories, PRINCIPLES
OF UNCERTAINTY and OTHER CONSTANTS was published in March.
Janurary 9- Emily Moore currently teaches in the English department at Stuyvesant High School in New
York City, where she specializes in poetry. Her work has appeared in The Paris Review, Ploughshares,
Poetry Daily and the Yale Review. She has published an essay on education in NEWSWEEK, as well as
several Spanish-English translations in Circumference. In 2004, she received a Ruth Lilly Poetry
Fellowship. This fall she began work towards a PhD in English at The City University of New York. She will
read with Jessica Reid, who grew up in “The Paris of the South,” Asheville, North, Carolina, and since
leaving there, has lived and worked all over, London and Buffalo(yes, Buffalo!) among them. She is currently
an MFA candidate in the Creative Writing program at The City College, where she serves as graduate
editor of Promethean. She lives in New York with her lovely wife and their cat, and has published
poetry in Tin House Magazine, The Huffington Post, Shampoo, and has work forthcoming in The Paris
Review and LIT. Her work was selected to be honored as part of the CUNY Arts Awards in 2005 and
2006.
January 16- Jeffrey Cyphers Wright is a New Romantic known for sonnets, performance and politics.
His tenth book, THE NAME POEMS, was published recently by Sisyphus. His work has been included in
anthologies from Faber and Faber, Crown, Black Sparrow, Granary and Henry Holt. In addition to poetry,
he also writes art criticism and poetry magazines. Recent work can be seen online at www.toolamagazine.
com. He will read with Wanda Phipps, a writer living in Brooklyn, and author of 66 Morning
Poems; Your Last Illusion or Break Up Sonnets and Lunch Poems, among others. Her poetry has been
published over a hundred times, in numerous journals, among them : Agni; The World; Hanging Loose;
Longshot etc. She has curated several readings and a performance series at the Poetry series at St.
Mark’s Church as well as other venues, and has written for the arts for Time Out New York, Paper
Magazine and About.com.
January 23- Carla Gericke has lived and traveled all over the world. She is currently enrolled in the MFA
program at The City College of New York, where she was honored with the $1000 Stark Award for outstanding
short fiction. Her stories and essays are forthcoming or have appeared in literary journals such
as Inkwell and Promethean. Before turning to writing fulltime, she practiced law in South Africa and
California. Carla lives with her husband and three sad cacti in a decrepit loft in Chinatown. She is working
on her first novel.
January 30- Amir Parsa was born in Tehran in 1968 and grew up in Iran and the U.S., while attending
French international schools. He is the author of Kobolierrot, Tractatüus Philosophiká-Poeticüus, the multilingual
L’opéra minora and Feu L’ encre-Fable, among other works. Also in 2006, Editions Caractères in
Paris is publishing his Dîvân, Sil & anses and Erre. His literary oeuvre—written in English, French and
Persian—constitutes a radical polyphonic enterprise that puts into question national, cultural and aesthetic
attachments while fashioning new genres, forms and even species of literary artifacts. His works have
appeared in Conciergerie, and he was featured in Artpress Magazine, one of France’s leading magazines
covering innovative art, literature and culture in 2006. He currently lives in New York, where he is a
Lecturer and Educator at the Museum of Modern Art and the Metropolitan Museum of Art.
3 6 5 5 T H A V E N U E P A R K S L O P E
F/R Train to 4th Avenue/9th Street (btwn 5th and 6th St.)
W W W . T H E P E R C H C A F E . C O M
Sunday Salon Readings
All readings are free and take place at 7pm at Stain Bar
766 Grand St. in Brooklyn, NY.
(Take the "L" train to Grand and walk one block west).
Check out the website for reader bios: www.sundaysalon.com
January 21: Tony O'Neill, Lisa Ferber, Joyce Marcel, Matt Cav
February 18: Harlem Writers Guild reading with KC Washington, Grace Edwards, Judy C. Andrews
March 18: Kate Hunter, Mitch Levenberg, Shelly Marlow, Jeffrey Renard Allen
Robert Dunn Poetry Readings
Poetry Reading
Poet to Poet Open Mic with Mike & Jeff
Sunday, December 31st, 2006 3 pm.
Back Fence Bar
155 Bleecker St, Manhattan. (btwn Broadway & 6th Ave)
$3 adm, $3 min.
Robert Dunn, emcee @ dunnmiracle@juno.com
Readings featuring Thad Rutkowski:
UPCOMING READINGS
Jan. 1, 2007, Monday 4-6 p.m.
Alternate New Year's Day Marathon. Bowery Poetry Club, 308 The Bowery.
Free. http://www.bowerypoetry.com
Jan. 14, Sunday, 6 p.m.
Beat Night with Larry Simon's band. Cornelia Street Cafe, 29 Cornelia St., Manhattan. $6 includes drink. (212) 989-9319.
Jan. 18, 2007, Thursday, 7 p.m.
Drunken! Careening! Writers! KGB Bar, 85 East 4th Street (at Second Avenue).
Manhattan. Hosted by Kathleen Warnock. Free.
Jan. 25, Thursday evening.
Reading from my work. St. Lawrence University English Dept., Canton, NY. Free. (315) 229-5125.
Feb. 13, Tuesday, 7:30 p.m.
Reading from my work. Barnes & Noble, 1542 Northern Blvd., Manhasset, L.I. Probably free. (516) 365-6723.
Feb. 14, Wednesday, 10:00p.m.
Wife of Bath reading. Bowery Poetry Club, 308 The Bowery, Manhattan. Hosted by
Tsaurah Litzky. www.bowerypoetry.com
Hope to see you somewhere! --Thad Rutkowski
http://www.thaddeusrutkowski.com
LALITA JAVA READINGS
3rd THURSDAYS 7-9 PM
HOSTED BY DOROTHY F. AUGUST
Lalita Java
210 East 3rd St.
(Btwn. B & C)
Reading/Event: Poets in Nassau First Friday Readings
Date: February 2, 2007
Place:Village Bookshoppe
Address: 7 N. Village Ave
City:Rockville Centre, NY 11570
Time: 7:30 pm
Cost: Free (donations appreciated)
Readers: Barbara Novack and Ann Kenna
Reading/Event: Poetry Event at Molloy College
Date: Sunday, March 25, 2007
Place: Molloy College (Multi Purpose Room, 2nd floor Wilbur Arts Center)
Address: 1000 Hempstead Ave.
City:Rockvulle Centre, NY 11571
Time: 3 to 5 pm
Cost: Free
Reader: George Wallace
Reading or Event including Theatre: Valentine’s Day Poetry Reading, the Gallery of Founders Hall
Date: Feb. 12, 2007
Place: Guilford College
Address
City: Greensboro, NC
Time: 7:00pm
Cost: free
Readers: Marian Kaplun Shapiro (and others)
Wick Poetry Series
Kent State University
Room 306, Kent Student Center 7:30 PM
February 15th
Benjamin Scott Grossberg and Daniel Rzicznek
March 13th
A. Van Jordan
The Poetry Forum at Larry’s
The Fall Season
Looking forward to seeing you'all soon for our 23rd season--
Readings: 2 sets about 20-25 minutes each. From:
- January 15-- Okla Elliot
Okla Elliot will be reading from his new chapbook, Lucid Bodies and Other Poems (out from MSR Press),
at the Larry's Poetry Forum, sponsored by the Ohio Arts Council.
All Events Mondays 7pm
2040 N. High St
Columbus, Ohio
All readings followed by a brief open mike.
Funded by the Ohio Arts Council: A state agency that supports public programs in the arts.
David Baratier, Co-coordinator, Larry's Poetry Forum
editor@pavementsaw.org
David Baratier, Editor
Pavement Saw Press
PO Box 6291
Columbus, OH 43206
http://pavementsaw.org
Reading by
Judith Skillman and other Hugo House teachers
Richard Hugo House
11th and Pine St.
Seattle, WA
January, 4th 7:00PM
Free
The 2nd Triennial
Prague International Poetry Festival
ALARM CLOCK THEATRE COMPANY PRESENTS:
Bombs and Manifestos, a monologue
by Somerville playwright, Brian Polak
A Chilling New Play from Elliot Norton Award Winning Alarm Clock Theatre Company Explores the Psyche of a Lonely Subway Musician with a
Fascination for the Unabomber.
Bombs and Manifestos is being presented in the Black Box Theater at the Boston Center for the Arts as part of Alarm Clock Theatre
Company's 2006/2007 season. The piece, written by Brian Polak (contributing writer to PS Page Me Later, Elliot Norton Award for Best
Fringe Production) was first introduced in an abbreviated version as part of FeverFest 2006.
To that end, Alarm Clock has enlisted the talents of Somerville filmmaker, Jeff Stern, of Roadside Pictures (
http://www.roadsidepictures.com/) to create films which will add depth and texture to the play.
Bombs and Manifestos is directed by Daniel Bourque (Zeitgeist Stage,
Another Country Productions, Theatre Cooperative) and features Steven Johnson (pictured) in the role of BB.
For interview requests contact Alarm Clock's Literary Manager, Jami Brandli, at 208-441-6615 or
info@alarmclocktheatre.org
Bombs and Manifesto will be offered January 5, 6, 11, 12, 13, 18, 19,
20 at 8pm and January 7, 14, 20 at 2pm at the Black Box Theater
Boston Center for the Arts
539 Tremont Street
Boston, Massachusetts, 02116
Tickets are available at http://www.bostontheatrescene.com
or by calling (617) 933-8600
Tickets are $17.50; 10% off for students and seniors.
InterAct Theatre Company’s Writing Aloud: Going Forward
Featured Stories & Writers:
“The Bard of Frogtown” by Allison Whittenberg
“Smart” by Benjamin Matvey
“The Bridge Keepers” by Neda Scepanovic
Featured Readers To Be Announced
On the Mainstage at The Adrienne
2030 Sansom St., Philadelphia
Monday, October 30, 2006 at 7:00 p.m.
Tickets are $12.00 for general admission or $6.00 for InterAct subscribers
For tickets or information: BoxOffice@InterActTheatre.org or (215) 568-8079
David Golston
InterAct Theatre Company’s Writing Aloud: Going to Pieces
Featured Stories & Writers:
“Bent and Blue” by CJ Spataro
“Smoke” by Robin Parks
“Pablo and the Frogs” by Steven Schutzman
Featured Readers To Be Announced
On the Mainstage at The Adrienne
2030 Sansom St., Philadelphia
Monday, December 12, 2006 at 7:00 p.m.
Tickets are $12.00 for general admission or $6.00 for InterAct subscribers
For tickets or information: BoxOffice@InterActTheatre.org or (215) 568-8079
David Golston
web: http://www.InterActTheatre.org
INTERACT THEATRE COMPANY ANNOUNCES
2006/2007 SEASON OF WRITING ALOUD
Philadelphia, PA - InterAct Theatre Company is excited to announce the eighth season of Writing Aloud, a series
of one-night-only evenings of short contemporary fiction written by the region’s finest writers and read on stage
by professional actors. The 2006/2007 Season will feature a selection of twenty-one short stories by area writers,
including New York Times bestselling author Jennifer Weiner.
David Sanders, Director of the Writing Aloud program,
recently announced the season line-up while adding, "We are thrilled to have received such a high number of outstanding
submissions this season, making our eighth season one of our most exciting ever."
ABOUT THE 2006/2007 SEASON
The 2006-2007 season of Writing Aloud kicks off on October 30, 2006 at 7:00 p.m. with an evening entitled Going Forward,
featuring “The Bard of Frogtown,” by Allison Whittenberg, “Smart,” by Benjamin Matvey, and
“The Bridge Keepers,” by Neda Scepanovic.
The second installment in the series, entitled Going to Pieces, takes place on December 12, 2006 and features
“Bent and Blue,” by CJ Spataro, “Smoke,” by Robin Parks, and
“Pablo and the Frogs,” by Steven Schutzman.
Going Down, on February 5, 2007, will be Writing Aloud’s first performance in the new year. It will feature the
stories “He Did It for Morgan,” by Kathryn Watterson, “Loss Prevention,” by Marion Wyce,
“Child at Play” by Manini Nayar,
and “The Captain is Sleeping,” by Norman Lock.
The series reconvenes on March 19, 2007 with a series entitled Coming Apart, featuring “The Black Box,” by
Clare Keefe Coleman,
“Feeding the Ducks,” by Jim Ray Daniels,
“The Embrace,” by Niama Leslie Williams, and
“Between States,” by Greg Downs.
The fifth installment, Coming to Terms, on April 30, 2007, will feature an exciting story from Jennifer Weiner,
New York Times bestselling author of Good in Bed and In Her Shoes. Also featured in
Coming to Terms will be “The Haircut,”
by Linda Blaskey, “Dog Whispers,” by Randall Brown, and
“Make Me Over,” by Amina Gautier.
The 2006-2007 Season of Writing Aloud concludes on June 11, 2007 with an evening of stories entitled Coming Together,
featuring “Good Providers,” by Miriam Fried,
“The BVM” by Tree Riesener, and “Measures of Sorrow,”
by Jacob M. Appel.
Casting for the upcoming 2006/2007 Writing Aloud season has not yet been announced, however, InterAct is in the process of
finalizing a line-up of some of Philadelphia’s best actors to read the short fictional stories. The recently completed
2005/2006 season of Writing Aloud included twenty-seven actors, including Barrymore Award winners
Catharine K. Slusar, Madi Distefano, and Maureen Torsney-Weir, as well as Barrymore-nominated actors
Matt Saunders, Amanda Schoonover, Buck Schirner, David Ingram, and Karen Peakes.
Each event in the 2006/2007 Writing Aloud season will be held on InterAct Theatre Company's Mainstage at The Adrienne,
2030 Sansom Street in Philadelphia. All performances are on Monday evenings at 7:00 p.m. Tickets are $12.00 for general
admission or $6.00 for InterAct subscribers. Season subscriptions to the Writing Aloud season are available starting
at only $10 an event, or $60 for the entire six-show season. Seating is limited, so advance reservations are strongly
recommended and can be made by calling InterAct’s Box Office at 215-568-8077. Group rates are also available.
ABOUT THE WRITING ALOUD PROGRAM
Directed by David Sanders, Writing Aloud was established in 1999 to present diverse voices in contemporary fiction
by the region’s best writers, read on stage by professional actors. Quickly establishing itself as the region’s premiere
reading series, Writing Aloud has attracted sold-out audiences, has been featured in special broadcasts on WHYY-FM public
radio, and is a recipient of Philadelphia Magazine’s 2001 “Best of Philly” award.
ABOUT INTERACT THEATRE COMPANY
Founded in 1988, InterAct Theatre Company is a theatre for today's world, producing new and contemporary plays that
explore the social, political, and cultural issues of our time. Lead by Producing Artistic Director
Seth Rozin, InterAct
is one of the nation’s leading centers for new writing in theatre, introducing important contemporary writers to audiences
through its world premiere stage productions, developmental residencies, and Showcase of New Plays. The Writing Aloud program
extends InterAct’s mission of cultivating and presenting diverse artistic voices into the realm of short fiction.
InterAct’s 2006/2007 Mainstage Season begins on October 20 with the classic play, KISS OF THE SPIDER WOMAN, written by
Manuel Puig and translated by Allan Baker.
Directed by Seth Rozin and featuring Philadelphia favorite, Frank X, and
2004 Barrymore nominee, Vaneik Echeverria, KISS OF THE SPIDER WOMAN opens officially on Wednesday, October 25, and runs
through November 19, 2006. Continuing the season in the new year will be the world premieres of Thomas Gibbons’
A HOUSE WITH NO WALLS (January 19-February 18, 2007) and Sherry Kramer’s WHEN SOMETHING WONDERFUL ENDS (April 6-May 6, 2007).
The season will then conclude with May 25-June 24 production of SKIN IN FLAMES, the East Coast premiere of a new play written
by Catalan playwright Guillem Clua and translated by DJ Sanders.
If you would like to be added to my monthly e-mail newsletter, which gives information on readings,
book signings, contests, workshops, and other related topics...
To subscribe to the newsletter send an email to:
newsletter@cervenabarvapress.com
with "newsletter" or "subscribe" in the subject line.
To unsubscribe from the newsletter send an email to:
unsubscribenewsletter@cervenabarvapress.com
with "unsubscribe" in the subject line.
Index |
Bookstore |
Submissions |
Newsletter |
Interviews |
Readings |
Workshops |
Fundraising |
Contact |
Links
Copyright © 2005-2006 ČERVENÁ BARVA PRESS LLC - All
Rights Reserved
|
