Friday, May 25, 2012

Poem-A-Day: 'SILENCES' by John Montague


for Elizabeth

1
Poetry is a weapon, and should be used,
though not in the crudity of violence.
It is a prayer before an unknown altar,
a spell to bless the silence.

2
There is a music beyond all this,
beyond all forms of grievance,
where anger lays its muzzle down
into the lap of silence.

3
Or some butterfly script,
fathomed only by the other,
as supple fingers draw
a silent message from the tangible.

*

Today's poem is fromSpeech Lessons, published by Wake Forest University Press. Reprinted with permission. All rights reserved, at http://www.poets.org

Thursday, May 24, 2012

Poetry In Film Festival - Enter Now!



The Poetry in Film Festival (PIFF) is on the hunt for the feature poem to be interpreted into short films. This year’s theme is ‘The Future Imagined’ Submit your poem by June 30th 2012.


MISSION
Poetry in Film Festival (PIFF) is the initiative that aims to bring the Australian arts community together with a festival combining film and poetry.
ABOUT THE FESTIVAL
PIFF 2012, in its third year, is an exciting and innovative short film festival based in Melbourne, Australia. Although its home is Australia, the festival is accepting entries from around the world.
Entrants in the festival are given a piece of modern poetry. From there they are free to interpret the poem in the form of a 4-7 min short film however they see fit.
The films will be judged by a team of industry professionals and awards will be given for the following criteria:
- Best Direction
- Best Cinematography
- Best Film (Best interpretation of the poem)
- Audience choice (judged on the PIFF Showcase and Awards Night)
- Best Performance
The best films will be screened at the PIFF Awards Night at the Palace Cinema Como, November 18th, 2012, where the awards ceremony will take place. An after party will follow, where filmmakers have a chance to network with fellow filmmakers, PIFF organisers and industry professionals alike.
The best films will also be shown as a part of the festival circuit in various other locations, after the awards ceremony, throughout Victoria and Australia.
See it all HERE

Wednesday, May 23, 2012

'Undercover' at Bookshops now


Now available at Planet Books, Beaufort Street, Mt Lawley, phone 9328 7464
and
Crow Books, 900 Albany Highway, East Victoria Park 6101, phone 9472 9737

More as they are added.

Or mail order from the publisher Walleah Press at  http://walleahpress.com.au/  

Oh, how beautiful the books of yore!


See more HERE

Are there any fine / arts book-crafts people in Western Australia? 
We at CODEX Australia are looking to make a directory of such services to promote and link such crafts people across Australia and to USA and Mexican practitioners. .Please contact me at burkeandre(at)gmail(dot) com if you have any information.

Monday, May 21, 2012

Jazz and Poetry inspiring each other



"

Letting Jazz Have a Turn Interpreting the Poets

Jazz at Lincoln Center did something really self-assured last week. It presented two major large-ensemble pieces by members of its orchestra, neither very well known as composers, for a three-night run at the Rose Theater: “God’s Trombones,” by the trombonist Chris Crenshaw, and “Inferno,” by the saxophonist Sherman Irby.
Each was about the length of an LP and based on a book of poetry. “God’s Trombones” drew on the 1927 work of the same name by James Weldon Johnson, seven connected poems using the rhetoric of the black American church service; “Inferno” drew on Dante. As suites, and in some aspects of arrangement and harmony, they contained the spirit and substance of Duke Ellington. But in other ways they embodied what we can call the Jazz at Lincoln Center impulse: be ambitious, be noble, be narrative, be permanent.

Read the rest of the article HERE.

Sunday, May 20, 2012

Woo hoo! Books launched splendidly ...

Lucy Dougan's ON THE CIRCUMVESUVIANA and my UNDERCOVER OF LIGHTNESS: NEW AND SELECTED collections were both expertly launched today by Prof PHILLIP MEAD at Mattie Furphy House, Swanbourne. Thanks to our hosts, the FAWWA in the person of Trisha Kotai-Ewers.

Thank you to 50 family and friends who celebrated the occasion with us - and bought a healthy amount of books.

For those who couldn't get there, books are now available from Planet Books in Mt Lawley and Crow Books in East Victoria Park.  More bookshops will be stocked in the week ahead.

Otherwise, contact Walleah Press at http://walleahpress.com.au/ - my thanks to Ralph Wessman for being the easiest publisher to get along with.

WALLEAH PRESS



Saturday, May 19, 2012

Book Launch Tomorrow


Sunday 20th - TOMORROW - at 2pm, book launch for Lucy Dougan and Andrew Burke at Mattie Furphy House, Kirkwood St, Swanbourne. Refreshments served (tap water and stale bickies).




The full text of the blurbs for Andrew's book:

Andrew Burke has made an indelible mark on our poetry over the years: his early work was filled with a sort of bravura energy and a willingness to take risks; later, he evolved a warm, compassionate style well suited to the personal pressures that he had to face. Always there has been an underlying delight in language itself - its power and its playfulness. 


Here is a poet to hail and to treasure.

-       Thomas Shapcott

-                              Like William Carlos Williams, West Australian poet, Andrew Burke, is a master of the quotidian. Like Philip Larkin, he writes poems to “preserve things I have seen / thought / felt”.  Burke is also, however, a poet of memory. Like the photographs of Henri Cartier-Bresson, Burke’s poems tend to be carefully prepared for “decisive moments”, first from his own life — and then, by extension, for the lives of his readers.
-                               
-                              Undercover of Lightness: New and Selected Poems collects forty rigorous pages from earlier work, preceded by a hundred pages of new work, much of it set in China and the Kimberley where Burke has recently lived and worked. Although the poet’s concerns have always ranged widely (as the quotidian tends to), many of his most poignant poems (such as “Mother Waits for Father Late” and “Walking to the Meeting”) look back at a somewhat desperate and alcoholic youth and early adulthood.
-        
-                   Geoff Page

A master of the context clash, Burke's is most fundamentally a poetry of enthusiasm. And it's poetry as enthusiasm. It does what it wants to do, goes where it must. It's fun to be along for the ride. And we go everywhere. Tibet, the desert, great rivers, we hobnob with the ancients. The highs are exalting, the lows are gritty. Burke is the poet who reminds us that spiders are serial killers. To borrow a few of his words, Lightness is a freefall fiddlesticks down a hall of mirrors. Hold on to your hat! 

            Kit Kelen
This book is full of illumination, clear intelligence, music and, most welcome, a sense of humour. Throughout, Andrew Burke’s poems talk and sing to us, and they talk to other poems and poets, as if to friends. This is because the poems are peopled, full of living and speaking. He is not afraid of either direct address, nor of formal experiment in a way that seems natural, and opens up the poem to both its making in language and the living it takes part in. In this, all the great themes of love and mortality are made fresh and real.

            Jill Jones



Friday, May 18, 2012

English used to have Gendered Nouns



If you speak another language like Spanish or German, you are familiar with grammatical gender. In Romance languages (and many others), nouns have a gender. In French, a chair is la chaise, a feminine noun, and a hat is le chapeau, a masculine noun. But did you know that English used to have gendered nouns too? (We were recently inspired to write about grammatical gender because the hosts over at Lexicon Valley, Mike Volo and Bob Garfield, discussed why languages have gender on three excellent episodes.)

Until the 1200s, English had grammatical gender. Instead of using the articles “the” or “a”, Old English had a masculine article “se” and a feminine article “seo”. The sun, for instance, was feminine, so it would be written “sÄ“o sunne”. If you referred to the sun, you would even say “she”.

However, in northern England in the 1100s, grammatical gender disappeared. Historical linguists aren’t entirely sure why this happened, but Professor Anne Curzan suggests that genders were lost because of the language mixing that went on in Northern England during that time. Between the 700s and the 1000s, there were Vikings invading northern England where peasants lived. The two groups spoke different languages: Old English and Old Norse. However, it is quite likely that many people were bilingual and fluent in both languages. Both Old English and Old Norse had gender, but sometimes their genders contradicted each other. In order to simplify communication, gendered nouns simply disappeared.

Of course, gender did not disappear entirely. We still have gendered pronouns in English: he, she and it.

Do you think English would be better with grammatical gender?

Read more at http://hotword.dictionary.com/oldenglishgender/#l4JspQLYopwXPaEq.99

Wednesday, May 16, 2012

Why I Still Write Poetry by Charles Simic | NYRblog | The New York Review of Books

Why I Still Write Poetry by Charles Simic | NYRblog | The New York Review of Books



Charles Simic: When my mother was very old and in a nursing home, she surprised me one day toward the end of her life by asking me if I still wrote poetry. When I blurted out that I still do, she stared at me with incomprehension. I had to repeat what I said, till she sighed and shook her head, probably thinking to herself this son of mine has always been a little nuts. Now that I’m in my seventies, I’m asked that question now and then by people who don’t know me well. Many of them, I suspect, hope to hear me say that I’ve come my senses and given up that foolish passion of my youth and are visibly surprised to hear me confess that I haven’t yet. They seem to think there is something downright unwholesome and even shocking about it, as if I were dating a high school girl, at my age, and going with her roller-skating that night.
...
The kind of poems I write—mostly short and requiring endless tinkering—often recall for me games of chess. They depend for their success on word and image being placed in proper order and their endings must have the inevitability and surprise of an elegantly executed checkmate.

See more about this poet, including many poems, at http://www.poets.org/viewmedia.php/prmMID/15256

Tuesday, May 15, 2012

'In a Single Gesture' by Alan Loney


from the Nawakum Press site:

In a Single Gesture
by Alan Loney
Alan Loney has developed an international reputation as a poet, writer of prose and criticism, publisher, and as a fine press printer. He is the 2011 recipient of the Janet Frame Award for Poetry in New Zealand for lifetime achievement, and previously won the 1976 New Zealand Book Award for poetry with his collection Dear Mondrian. Loney has printed over fifty books of his own work and the work of other poets. His Hawk Press (1974-83), Black Light Press (1987-91), and Holloway Press (1994-98) have given voice to the smallest nuances of his creative expressions and those of other poets.

In A Single Gesture is a sequence of 24 poems manifesting as one, connected by a single calligraphic line drawn by Judy Detrick through the entire sixteen-foot length of the accordion style binding. Poetry of thoughtful feeling from the outset, as Loney himself describes it, the work draws inspiration from ancient Greek poets and philosophers. Each poem's first line has been selected from an original Greek text and translated by the poet. Expanding on the essence of these first lines, each poem then resonates with immediate personal relevance in a style both self reflective and circumspect, in a manner that is crisp, fragmented, erudite and uniquely Loney.
30 copies, of which 24 are for sale. Letterpress printed on mould-made Somerset Book and handmade Cave Paper, the book is 32 pages which measure 61/2 by 12 inches. Jason Dewinetz of Greenboathouse Press designed the edition. 

The text is Brioso Pro, designed by Robert Slimbach. California calligrapher Judy Detrick illustrated the text with a calligraphic line, printed letterpress, running throughout the entire length of the book. Patrick Reagh printed the text and covers from polymer plates.The accordion bindings and clamshell boxes were produced by John DeMerritt. Publication price: $700.00  Order >


 Andrew: Check the book out at the site - beautiful! 


ON BARCELONA requests submissions

From the desk of Halvard Johnson, poet and editor


Always looking for new contributors, old contributors, readers. 
Send work to halvard@gmail.com. No connection to 
Barcelona required, as though there might be work 
unconnected to Barcelona.

onbarcelona.blogspot.com


Halvard Johnson

Monday, May 14, 2012

The Australian Haiku Society Update: Vancouver Haiku Invitational: closes 4 June 2012


    The Vancouver Cherry Blossom Festival invites you to submit two
    haiku celebrating the beauty of cherry blossoms. This year,
    internationally recognized poet from Australia, Beverley
    George, has been invited to be the Festival guest judge.
    
    Details on the competition and submission process are available
    at:
    
    http://www.vcbf.ca/haiku/haiku-invitational-2012


------------------------------------------------------------------------

http://www.haikuoz.org/2012/05/vancouver_haiku_invitational_c.html

Einstein praises the Imagination

“I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”
Albert Einstein

Friday, May 11, 2012

'Winter Trees' - poem by William Carlos Williams



All the complicated details
of the attiring and
the disattiring are completed!
A liquid moon
moves gently among
the long branches.
Thus having prepared their buds
against a sure winter
the wise trees
stand sleeping in the cold.

Interview with Cesar Vallejo - trans. Kent Johnson


Amazing find! 1831 interview with Cesar Vallejo, translated by Kent Johnson. I can't even quote opening para for you - but please go to http://theclaudiusapp.com/2-vallejo.html and read. Wow, what a find. Thanks to Ron Silliman who put this up on his blog first.