#Counterpath Press

[jstalling]

Love that this work is still generating interest in interlanguage. Thanks for reading it. The book's publisher Counterpath has made the work available on Amazon again, but its always best to order from small presses directly which can be done here: https://counterpathpress.org/yingelishi or more precisely here: https://asterismbooks.com/product/yingelishi-sinophonic-english-poetry-and-prose-jonathan-stalling. If you want to give the work a listen, you can still find a recording of a truncated version of the opera here: https://vimeo.com/21183915

Onward! Jonathan

Jonathan Stalling’s Yingelishi is a book of poetry that is read in two ways: in Chinese and in English. He offers a line of English poetry, then rewrites it phonetically in the Chinese language, so that the new line in Chinese has its own unique and coherent meaning, which is then translated back into English. The end result is a poem existing in multiple languages and in no languages at all, with multiple meanings that can be read many ways.


[Image ID: A line that reads, “早上好” which is Simplified Chinese for “good morning.” Then a line of English text that reads, “good morning,” followed by a line of pinyin or possibly a different method of transliterated Chinese that reads, “gũ dé mào níng.” Then a line of Chinese characters which reads, “孤��貌宁,” phonically the same as the above pinyin, followed by a line of English text which is the translation of the above Chinese, reading, “Even alone, the moral one / appears peaceful.” End image ID.]

[jhavelikes]

Montfort inspects the original GPT-2 press release text closely, finding that this “fake news” is not only about things that are obviously not the case (talking unicorns) but is also riddled with obvious self-contradiction. Then, going back to the 1970s and 1980s, he traces through a history of very impressive real news generation — the production of narrative text based on underlying quantitative data — which has been used already, extensively, to generate news without the deficiencies of so-called generative AI. After a prelude in the 1950s, Montfort considers English text-generation work related to narrative from the 1960s. While influential systems (with one exception) were developed by men of European descent, there were also complex global entanglements, with one of the first English story generation systems being developed in Mexico City in 1963 by a linguist seeking to learn about indigenous languages. To conclude, Montfort first quotes from two poetry generators (which produce narrative verse) that were written by American women at the end of the 1980s. Then, he reads an excerpt from his computer-generated novel Hard West Turn, a book about gun violence in the United States from 2018. Montfort’s discussion is far from comprehensive, skipping over some of the most well-known systems, such as SAGA, to generate scripts for TV Westerns, and the intricate TALE-SPIN. Texts generated by these and many other systems will be presented in Output: An Anthology of Computer Generated Text, 1953–2023, edited by Lillian-Yvonne Bertram & Nick Montfort, to be co-published by The MIT Press and Counterpath in August 2024.

Pour une histoire de l’IA #12 : Nick Montfort – CulturIA

[poem-today]

Goldfish Ponds - Brief Poems by Carol Snow

Carol Snow was born on Oct 18, 1949. Her collections include Position Paper (Counterpath Press, 2016), Placed: Karesanui Poems (Counterpath Press, 2008), The Seventy Prepositions (University of California Press, 2004), For (University of California Press, 2000) and Artist and Model (Atlantic Monthly Press, 1990), winner of both the Poetry Center Book Award and the Joseph Henry Jackson Award in…

[poltergeist-coffee]

I'm not even mad anymore, I just laughing Plate anon accidentally sendind asks part 345 WHY DO I KEEP DOING IT KKKKKKKKKKKKKKKKK I will just continue like nothing happened But yeah, that's why I think qbagi and qcelbbit dynamic is so good Qbagi is not willing to let him go and yes, she will be by his side but that's doesn't mean she will accept everything he does

Again, the ccs are great, because when qbagi found qcellbit trying to kill those workers wich lead to that conversation that I totally didn't translate most of it, her voice when she said "what are you doing?" was just- pure emotion BUT YEAH, NO MORE LORE JUST SEA ANIMALS TO THE SOUL If you are wondering who the black sea nettle is trying to impress, you should really wonder who the lion's mane jellyfish(Cyanea capillata) is trying to impress, because that little guy(well, not so little)- while the ones found in lower latitudes are much smaller than their northen counterpaths - are capable of attaining a bell diameter of over 2 meter(6ft 7in) There are also the giant phantom jellyfish, their bell can grow up to 1meter(3.3ft) and their four arms have a "paddle-like" or "kite-like"(acording to wikipedia) shape and can grow up to 10m (33 ft) in length.

The lion's mane jellyfish though, the tentacles of larger specimens may trail as long as 30m(100ft) or more, with the tentacles of the longest known specimen measured at 36.6 m (120 ft) in length, although it has been suggested that this specimen may actually have belonged to a different Cyanea species. Wich is... longer than some of the biggests blue whales(around 33m/100ft)

-Plate anon (<- someone makes them stop pressing the ctrl and enter, WHY DO THIS TWO KEY HAVE TO BE THE ONES IN THE FAR CONER? I JUST WANT TO PRESS THEM FOR NO REASON)

NOOOO XDD THE KEYBOARD FR HATES YOU

i swear most jellyfish and sea creatures in general are taller then me. if we laid down next to each other they could easily be twice as tall as i am. why? they don’t need to be that big?? stop that?? (for reference i am 4’11 ft so like 1.49 meters? i think?) (i’m just very short TT)

thank you for all the jellyfish facts plate anon, they’re all so cool to read about

[kamreadsandrecs]

Counterpath Press’s series of now thirteen computer-generated books, Using Electricity, offers a refreshing alternative to the fantasia of terror and wonder that we’ve all been subjected to since the public release of ChatGPT. The books in this series present us with wide-ranging explorations into the potential interplay between human language and code. Although code-based work can be dauntingly hermetic to the noncoder, all computationally generated or mediated writing is the result of two fundamental decisions that remain in the hands of the human author: defining the source text(s) (the data) and choosing the processes (the algorithms or procedures) that operate on them. A text generator like ChatGPT uses brute force on both sides—enormous amounts of text vacuumed from the internet are run through energy-intensive pattern-finding algorithms—to create coherent, normative sentences with an equivocal but authoritative tone. The works in Using Electricity harness data and code to push language into more playful and revealing imaginative territory.

Many of Using Electricity’s authors mobilize computational processes to supercharge formal constraints, producing texts that incessantly iterate through variations and permutations. In The Truelist, Nick Montfort, the series editor, runs a short Python script to generate pages of four-line stanzas comprising invented compound words. “Now they saw the lovelight, / the blurbird, / the bluewoman facing the horse, / the fireweed.” The poem is a relentless loop—repeating this same structure as it churns through as many word combinations as it can find. Rafael Pérez y Pérez’s Mexica uses a pared-down, culturally specific vocabulary and a complex algorithm to generate short fairy tale–like stories. One begins, “The princess woke up while the songs of the birds covered the sky.” The skeletal story structure swaps different characters and actions as the variations play out. It’s like watching a multiversal performance of the same puppet show.

I find that often I am not reading these works for meaning as much as for pattern, which is at the heart of how computation operates. Allison Parrish’s fantastic Articulations brings us frighteningly deep into the core of computational pattern searching. Drawing from a corpus of over two million lines of poetry from the Project Gutenberg database, she takes us on a random walk through “vector space.” Put simply, this is the mathematical space in which computers plot similarities between different aspects of language—the sound, the syntax, whatever the programmer chooses. The result is a dizzying megacollage/cluster-mash-up of English poetry in which obsessive and surprising strings constantly emerge—a vast linguistic hall of mirrors. “In little lights, nice little nut. In a little sight. In a little sight, in a little sight, a right little, tight little island. A light. A light. A light. A light. A light.”

Many of these works are indebted to the wider traditions of procedural, concrete, conceptual, and erasure poetry, while making use of code’s unique possibilities for play, chance, variation, and repetition. Stephanie Strickland’s Ringing the Changes draws its mathematical ordering process from a centuries-old practice of English bell ringing. In Experiment 116, Rena Mosteirin plays a game of translation telephone by running Shakespeare’s “Sonnet 116” through multiple languages in Google Translate and back into English.

The three most recent titles, released in April, comprise some of the series’s most varied and dynamic approaches to digital poetics. There is an updated edition of Image Generation by the pioneering literary artist John Cayley; as well as Qianxun Chen and Mariana Roa Oliva’s Seedlings, which uses the metaphor of seeds and trees, and “grows” word structures that evoke the dynamics and fragility of plant life. One of the most exciting titles thus far, especially from the perspective data source, is Arwa Michelle Mboya’s Wash Day, in which she threads together transcripts of YouTube videos of Black hair vloggers sharing their Wash Day rituals. The result is an immersive, polyvocal, multiauthored narrative that reveals the unique capacity of data and computation to give presence to specific communities. Wash Day provides an extraordinary contrast to the normalized, bulk-writing superstores of commercial text generators. That deep attention to language—its potential, its limits, its expressive capabilities, its necessity, and its fragility—is the central quality all these authors share. Hopefully works like theirs can help us imagine much more resonant and compelling digital futures.



[kammartinez]

Counterpath Press’s series of now thirteen computer-generated books, Using Electricity, offers a refreshing alternative to the fantasia of terror and wonder that we’ve all been subjected to since the public release of ChatGPT. The books in this series present us with wide-ranging explorations into the potential interplay between human language and code. Although code-based work can be dauntingly hermetic to the noncoder, all computationally generated or mediated writing is the result of two fundamental decisions that remain in the hands of the human author: defining the source text(s) (the data) and choosing the processes (the algorithms or procedures) that operate on them. A text generator like ChatGPT uses brute force on both sides—enormous amounts of text vacuumed from the internet are run through energy-intensive pattern-finding algorithms—to create coherent, normative sentences with an equivocal but authoritative tone. The works in Using Electricity harness data and code to push language into more playful and revealing imaginative territory.

Many of Using Electricity’s authors mobilize computational processes to supercharge formal constraints, producing texts that incessantly iterate through variations and permutations. In The Truelist, Nick Montfort, the series editor, runs a short Python script to generate pages of four-line stanzas comprising invented compound words. “Now they saw the lovelight, / the blurbird, / the bluewoman facing the horse, / the fireweed.” The poem is a relentless loop—repeating this same structure as it churns through as many word combinations as it can find. Rafael Pérez y Pérez’s Mexica uses a pared-down, culturally specific vocabulary and a complex algorithm to generate short fairy tale–like stories. One begins, “The princess woke up while the songs of the birds covered the sky.” The skeletal story structure swaps different characters and actions as the variations play out. It’s like watching a multiversal performance of the same puppet show.

I find that often I am not reading these works for meaning as much as for pattern, which is at the heart of how computation operates. Allison Parrish’s fantastic Articulations brings us frighteningly deep into the core of computational pattern searching. Drawing from a corpus of over two million lines of poetry from the Project Gutenberg database, she takes us on a random walk through “vector space.” Put simply, this is the mathematical space in which computers plot similarities between different aspects of language—the sound, the syntax, whatever the programmer chooses. The result is a dizzying megacollage/cluster-mash-up of English poetry in which obsessive and surprising strings constantly emerge—a vast linguistic hall of mirrors. “In little lights, nice little nut. In a little sight. In a little sight, in a little sight, a right little, tight little island. A light. A light. A light. A light. A light.”

Many of these works are indebted to the wider traditions of procedural, concrete, conceptual, and erasure poetry, while making use of code’s unique possibilities for play, chance, variation, and repetition. Stephanie Strickland’s Ringing the Changes draws its mathematical ordering process from a centuries-old practice of English bell ringing. In Experiment 116, Rena Mosteirin plays a game of translation telephone by running Shakespeare’s “Sonnet 116” through multiple languages in Google Translate and back into English.

The three most recent titles, released in April, comprise some of the series’s most varied and dynamic approaches to digital poetics. There is an updated edition of Image Generation by the pioneering literary artist John Cayley; as well as Qianxun Chen and Mariana Roa Oliva’s Seedlings, which uses the metaphor of seeds and trees, and “grows” word structures that evoke the dynamics and fragility of plant life. One of the most exciting titles thus far, especially from the perspective data source, is Arwa Michelle Mboya’s Wash Day, in which she threads together transcripts of YouTube videos of Black hair vloggers sharing their Wash Day rituals. The result is an immersive, polyvocal, multiauthored narrative that reveals the unique capacity of data and computation to give presence to specific communities. Wash Day provides an extraordinary contrast to the normalized, bulk-writing superstores of commercial text generators. That deep attention to language—its potential, its limits, its expressive capabilities, its necessity, and its fragility—is the central quality all these authors share. Hopefully works like theirs can help us imagine much more resonant and compelling digital futures.

[smallpressdistribution]

IT'S YOUR NEW POETRY AND NONFICTION BESTSELLERS!!! Featuring Tupelo Press, Tres Chicas Books, Noemi Press, The Song Cave, The Operating System, Essay Press, A Midsummer Night's Press, A Strange Object, Aunt Lute Books, Black Lawrence Press, and many more! <3

[brandonshimoda]

The Hiroshima Library is an itinerant, sometimes spontaneous reading room/collection of books on the atomic bombings of Hiroshima and Nagasaki, and their ongoing afterlives, as well as the environments and situations in which the collection either publicly or privately exists. The collection is (currently) 200+ books, including hibakusha testimonies, history and journalism, art and photography, poetry, novels, graphic novels and comic books, art and literary criticism, theory, politics, science, and also contributions by the communities in which it appears. (Donations are always welcome.) It is inspired, in part, by the Rest House in the Peace Memorial Park in Hiroshima; the ice cream vendor in the Hypocenter Park in Nagasaki; the reading areas in the MRT stations in Kaohsiung, Taiwan; abandoned gas stations and strip malls throughout the United States and Japan; as well as mundane, workaday spaces adjacent to catastrophic life, which occupy a frequency between communal mourning and melancholy, private refreshment, and idle and free associative learning, and into which an individual (passerby, tourist, wanderer, child), motivated by an aimless yet open curiosity, might enter and, for a moment, disappear.

The collection was first conceived in 1988 when I (Brandon Shimoda) received, as a gift from my parents, a copy of Keiji Nakazawa’s manga, I Saw It: The Atomic Bombing of Hiroshima: A Survivor’s True Story (English translation, 1982). That same year I visited, for the first time, the city of Hiroshima. I was ten.

The Rest House in the Peace Memorial Park in Hiroshima, for example—located across the Motoyasu River from the atomic bomb hypocenter (detonation point), and surrounded by memorials and monuments to the dead—is an information center/gift shop filled with brochures, benches, and beverage machines, where people can use the restroom, have a drink, and, in the midst of the ruins, let their minds go blank. It was originally a kimono shop, but was turned over, during the war, to the war effort, where it became the site of the murder, by the bomb, of thirty-six people.

The Hiroshima Library was first installed on a dining table in an abandoned house in Marfa, Texas (2015). It was installed at BRUNA press + archive, in Bellingham, Washington, from August through October 2019; in the Japanese American National Museum, in Los Angeles, from November 2019 through August 2021, as part of Under a Mushroom Cloud: Hiroshima, Nagasaki, and the Atomic Bomb; and at Counterpath Press, in Denver, CO, from October 2021 into September 2022. Photo below courtesy of JANM.

Read Sommer Browning’s article on the Hiroshima Library at Southwest Contemporary.

Visit the PDF Branch of the Library here.

For more information, the library’s catalog, to make a donation, and/or to suggest a location/space for the library, please contact brandonshimoda@gmail.com.

Photo below taken by Kristina Lee Podesva and Alan McConchie at BRUNA.

[igreyphd]

Jacques Derrida

“Speech and Phenomena” and Other Essays on Husserl’s Theory of Signs, trans. David B. Allison (Evanston: Northwestern University Press, 1973).

Of Grammatology, trans. Gayatri Chakravorty Spivak (Baltimore & London: Johns Hopkins University Press, 1976) (hardcover: ISBN 0-8018-1841-9, paperback: ISBN 0-8018-1879-6, corrected edition: ISBN 0-8018-5830-5).[174]

Writing and Difference, trans. Alan Bass (Chicago: University of Chicago Press, 1978) ISBN 978-0-226-14329-3.

Spurs: Nietzsche’s Styles, trans. Barbara Harlow (Chicago & London: University of Chicago Press, 1979, ISBN 978-0-226-14333-0).

The Archeology of the Frivolous: Reading Condillac, trans. John P. Leavey Jr. (Lincoln & London: University of Nebraska Press, 1980).

Dissemination, trans. Barbara Johnson (Chicago: University of Chicago Press, 1981, ISBN 978-0-226-14334-7).

Positions, trans. Alan Bass (Chicago: University of Chicago Press, 1981, ISBN 978-0-226-14331-6) [Paris, Minuit, 1972].

Margins of Philosophy, trans. Alan Bass (Chicago: Chicago University Press, 1982, ISBN 978-0-226-14326-2).

Signsponge, trans. Richard Rand (New York: Columbia University Press, 1984).

The Ear of the Other, trans. Peggy Kamuf (Lincoln & London: University of Nebraska Press, 1985).

Glas, trans. John P. Leavey, Jr. & Richard Rand (Lincoln & London: University of Nebraska Press, 1986).

Memoires for Paul de Man (New York: Columbia University Press, 1986; revised edn., 1989).

The Post Card: From Socrates to Freud and Beyond, trans. Alan Bass (Chicago & London: University of Chicago Press, 1987, ISBN 978-0-226-14322-4).

The Truth in Painting, trans. Geoffrey Bennington & Ian McLeod (Chicago & London: Chicago University Press, 1987, ISBN 978-0-226-14324-8).

Limited Inc (Evanston: Northwestern University Press, 1988).

Edmund Husserl’s Origin of Geometry: An Introduction, trans. John P. Leavey, Jr. (Lincoln & London: University of Nebraska Press, 1989).

Of Spirit: Heidegger and the Question, trans. Geoffrey Bennington & Rachel Bowlby (Chicago & London: University of Chicago Press, 1989, ISBN 978-0-226-14319-4).

Cinders (book)|Cinders, trans. Ned Lukacher (Lincoln & London: University of Nebraska Press, 1991).

Acts of Literature (New York & London: Routledge, 1992).

Given Time|Given Time: I. Counterfeit Money, trans. Peggy Kamuf (Chicago & London: University of Chicago Press, 1992, ISBN 978-0-226-14314-9).

The Other Heading|The Other Heading: Reflections on Today’s Europe, trans. Pascale-Anne Brault & Michael B. Naas (Bloomington & Indianapolis: Indiana University Press, 1992).

Aporias, trans. Thomas Dutoit (Stanford: Stanford University Press, 1993).

Jacques Derrida (book)|Jacques Derrida, co-author & trans. Geoffrey Bennington (Chicago & London: Chicago University Press, 1993, ISBN 978-0-226-04262-6).

Memoirs of the Blind|Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault & Michael Naas (Chicago & London: University of Chicago Press, 1993, ISBN 978-0-226-14308-8).

Specters of Marx: The State of the Debt, the Work of Mourning, and the New International, trans. Peggy Kamuf (New York & London: Routledge, 1994).

Archive Fever: A Freudian Impression, trans. Eric Prenowitz (Chicago & London: University of Chicago Press, 1995, ISBN 978-0-226-14367-5).

The Gift of Death, trans. David Wills (Chicago & London: University of Chicago Press, 1995, ISBN 978-0-226-14306-4).

On the Name, trans. David Wood, John P. Leavey, Jr., & Ian McLeod (Stanford: Stanford University Press, 1995).

Points…: Interviews 1974-1994, trans. Peggy Kamuf and others, (Stanford: Stanford University Press, 1995) (see also the footnote about ISBN 0-226-14314-7, here) (see also the [1992] French Version Points de suspension: entretiens (ISBN 0-8047-2488-1) there).

Chora L Works, with Peter Eisenman (New York: Monacelli, 1997).

Politics of Friendship, trans. George Collins (London & New York: Verso, 1997).

Monolingualism of the Other; or, The Prosthesis of Origin, trans. Patrick Mensah (Stanford: Stanford University Press, 1998).

Resistances of Psychoanalysis, trans. Peggy Kamuf, Pascale-Anne Brault and Michael Naas (Stanford: Stanford University Press, 1998).

The Secret Art of Antonin Artaud, with Paule Thévenin, trans. Mary Ann Caws (Cambridge, Mass., & London: MIT Press, 1998).

Adieu: To Emmanuel Levinas, trans. Pascale-Anne Brault & Michael Naas (Stanford: Stanford University Press, 1999).

Rights of Inspection, trans. David Wills (New York: Monacelli, 1999).

Demeure: Fiction and Testimony, with Maurice Blanchot, The Instant of My Death, trans. Elizabeth Rottenberg (Stanford: Stanford University Press, 2000).

Of Hospitality, trans. Rachel Bowlby (Stanford: Stanford University Press, 2000).

Deconstruction Engaged: The Sydney Seminars (Sydney: Power Publications, 2001).

On Cosmopolitanism and Forgiveness, trans. Mark Dooley & Michael Hughes (London & New York: Routledge, 2001).

A Taste for the Secret, with Maurizio Ferraris, trans. Giacomo Donis (Cambridge: Polity, 2001).

The Work of Mourning, trans. Pascale-Anne Brault & Michael Naas (Chicago & London: Chicago University Press, 2001, ISBN 978-0-226-14281-4).

Acts of Religion (New York & London: Routledge, 2002).

Echographies of Television: Filmed Interviews, with Bernard Stiegler, trans. Jennifer Bajorek (Cambridge: Polity, 2002).

Ethics, Institutions, and the Right to Philosophy, trans Peter Pericles Trifonas (Lanham: Rowman & Littlefield, 2002).

Negotiations: Interventions and Interviews, 1971–2001, trans. Elizabeth Rottenberg (Stanford: Stanford University Press, 2002).

Who’s Afraid of Philosophy?: Right to Philosophy 1, trans. Jan Plug (Stanford: Stanford University Press, 2002).

Without Alibi, trans. Peggy Kamuf (Stanford: Stanford University Press, 2002).

Philosophy in a Time of Terror|Philosophy in a Time of Terror: Dialogues with Jürgen Habermas and Jacques Derrida, with Jürgen Habermas (Chicago & London: University of Chicago Press, 2003, ISBN 978-0-226-06666-0).

The Problem of Genesis in Husserl’s Philosophy, trans. Marian Hobson (Chicago & London: Chicago University Press, 2003, ISBN 978-0-226-14315-6).

Counterpath, with Catherine Malabou, trans. David Wills (Stanford: Stanford University Press, 2004).

Eyes of the University: Right to Philosophy 2, trans. Jan Plug (Stanford: Stanford University Press, 2004).

For What Tomorrow…: A Dialogue, with Elisabeth Roudinesco, trans. Jeff Fort (Stanford: Stanford University Press, 2004).

Rogues: Two Essays on Reason, trans. Pascale-Anne Brault & Michael Naas (Stanford: Stanford University Press, 2004).

On Touching—Jean-Luc Nancy, trans. Christine Irizarry (Stanford: Stanford University Press, 2005).

Paper Machine, trans. Rachel Bowlby (Stanford: Stanford University Press, 2005).

Sovereignties in Question|Sovereignties in Question: The Poetics of Paul Celan, trans. Thomas Dutoit (New York: Fordham University Press, 2005).

H. C. for Life: That Is to Say…, trans. Laurent Milesi & Stefan Herbrechter (Stanford: Stanford University Press, 2006).

Geneses, Genealogies, Genres, and Genius|Geneses, Genealogies, Genres, And Genius: The Secrets of the Archive, trans. Beverly Bie Brahic (New York: Columbia University Press, 2006).

Learning to Live Finally: The Last Interview, with Jean Birnbaum, trans. Pascale-Anne Brault & Michael Naas (Melville House, 2007).

Psyche: Inventions of the Other, Volume I (Stanford: Stanford University Press, 2007).

Psyche: Inventions of the Other, Volume II (Stanford: Stanford University Press, 2008).

The Animal That Therefore I Am, trans. David Wills (New York: Fordham University Press, 2008).

The Beast and the Sovereign, Volume I, trans. Geoffrey Bennington (Chicago: University of Chicago Press, 2009, ISBN 978-0-226-14428-3).

Copy, Archive, Signature: A Conversation on Photography, ed. Gerhard Richter, trans. Jeff Fort (Stanford: Stanford University Press, 2010).

Athens, Still Remains: The Photographs of Jean-François Bonhomme, trans. Michael Naas (New York: Fordham University Press, 2010).

Parages, ed. John P. Leavey, trans. Tom Conley, James Hulbert, John P. Leavey, and Avital Ronell (Stanford: Stanford University Press, 2011).

The Beast and the Sovereign, Volume II, trans. Geoffrey Bennington (Chicago: University of Chicago Press ISBN 978-0-226-14430-6).

Signature Derrida, ed. Jay Williams (Chicago: University of Chicago Press ISBN 978-0-226-92452-6).

The Death Penalty, Volume I (Chicago: University of Chicago Press, 2014, ISBN 978-0-226-14432-0).

Heidegger: The Question of Being and History (Chicago: University of Chicago Press, 2016, ISBN 978-0-226-35511-5).

Body of Prayer, co-authored with David Shapiro and Michal Govrin (New York: The Irwin S. Chanin School of Architecture, 2001).

[ucbsound]

March 15, 7pm UC Berkeley - 315 Wheeler Hall

Jennifer Scappettone works at the juncture of scholarly research, translation, and the literary arts, on the page and off. She is the author of the books From Dame Quickly: Poems (Litmus Press, 2009), Killing the Moonlight: Modernism in Venice (Columbia University Press, 2014), and The Republic of Exit 43: Outtakes & Scores from an Archaeology and Pop-Up Opera of the Corporate Dump (Atelos, 2016).Her most recent publication is SMOKEPENNY LYRICHORD HEAVENBRED: Two Acts (The Elephants, 2018), a free e-chapbook hailing from a libretto composed for live mixed-reality performance with writer and code artist Judd Morrissey and artist/technologist Abraham Avnisan. In 2009 she edited Belladonna Elders Series #5: Poetry, Landscape, Apocalypse,which included new poetry by Lyn Hejinian and Etel Adnan in dialogue with her own poetry and critical prose. She has developed interactive and site-specific poetry in collaboration with other artists for performance and installation at locations ranging from Counterpath Gallery (2019) to the Rutgers-Camden Center for the Arts (2018), 6018|North for the Chicago Architecture Biennial (2017), WUHO Gallery in Los Angeles (2014), Trajan’s aqueduct at the American Academy in Rome (2011) and, Fresh Kills Landfill (2010-11). She is currently Associate Professor of English, Romance Languages and Literatures, and Creative Writing at the University of Chicago, and an External Faculty Fellow at the Stanford Humanities Center.

[dk-thrive]

The past would delay the present’s unfolding if our eroded memories hadn’t slept there ceaselessly.

René Char, from “Pause at Cloaca Castle,” The Brittle Age and Returning Upland (Counterpath Press, 2009)

[rawsin23]

The latest Rendering Unconscious podcast is LIVE! www.renderingunconscious.org This week was poet's week, as I recorded episodes with two fantastic writers! Katie Ebbitt and Jason Haaf. Jason Haaf @haafwit is a writer living in Brooklyn, New York. His non-fiction centers on memory, dreams, childhood, relationships and identity. Love Case, his debut novel, is a diary-esque series of short stories focused on sexuality, and the growth and experience that comes from repression. https://lovecase.bigcartel.com/ Katie Ebbitt is a poet and therapist in New York City. Her chapbook ANOTHER LIFE is available from Counterpath Press. http://counterpathpress.org/another-lifekatie-ebbitt Both Katie and Jason contributed poetry to the upcoming anthology Rendering Unconscious (Trapart Books, 2019). If you enjoy what we’re doing, please join us at: www.patreon.com/vanessa23carl Rendering Unconscious Podcast can also be found at: Spotify, iTunes, YouTube, Vimeo & SoundCloud Please visit www.drvanessasinclair.net/podcast or the About page of www.renderingunconscious.org for links to all of the sites where RU posts. The track at the end of the episode is “Fetishize Immediacy” from the album Switching Mirrors upcoming from Erototox Decodings. Words by Vanessa Sinclair. Music by Carl Abrahamsson. @carl.abrahamsson https://vanessasinclaircarlabrahamsson.bandcamp.com/ Artwork by Vanessa Sinclair www.chaosofthethirdmind.com @katelanfoisy https://www.instagram.com/p/BtJGZMrHt9c/?utm_source=ig_tumblr_share&igshid=1rgtkrqvh9wxk

[the-drawing-center]

Anne Tardos, Jackson Mac Low’s widow: “Many of the works in this exhibition were discovered after his death. One might say, they could only be discovered then. He had kept his drawings and collages safely, but he completely lost track of them, sometimes painfully suspecting the works as having been stolen. I had to go through the enormous accumulation of this artist’s life’s work, and in doing this, I discovered many long lost items, in particular the original, hand drawn Light Poems Chart. In the decade following his death, I edited three large, posthumous volumes of his works: Thing of Beauty: New and Selected Works (University of California Press, 2008); 154 Forties (Counterpath, 2012); and The Complete Light Poems 1–60, with Michael O’Driscoll (Chax Press, 2015).” All three books are available in our bookshop. If you can’t come to The Drawing Center, please email our book store manager Kate Robinson your inquiries: krobinson@drawingcenter.org #JacksonMacLow #AnneTardos #poems #books (at The Drawing Center)

[munove]

'Mexica', el primer libro de cuentos en español escrito por una Inteligencia Artificial

El autor de MEXICA, 20 años, 20 historias, el nuevo libro que la editorial estadunidense Counterpath Presses ha publicado en español e inglés, no firma autógrafos ni (por ahora) frecuenta tertulias literarias: es un programa de inteligencia artificial (IA). Sin embargo, la obra que ha escrito parece perfectamente humana: consta de 20 historias cortas que narran las relaciones de amor, odio, despecho, entrega y venganza de personajes prehispánicos como un guerrero águila, una princesa, una doncella y un tlatoani. Todo ocurre en el escenario del

etiquetas: mexica, inteligencia artificial

» noticia original (nmas1.org)

[smallpressdistribution]

Feast your eyes and your shelves on July’s

SPD Recommends *Backlist*,

ten titles that continue to rock our world. Maybe they’ll rock yours too… 

1. Don’t Drink Poison - Sarah Anne Wallen

“Through a sly directness that seems inspired by Williams, the New York School, Sylvia Plath, and Ariana Reines, Wallen crafts a punk female poetics located in the weird slippery surface of tone. Compressed, smart and raucous, the poems shimmer as they turn language back on its strange self.” - Karen Weiser

2. Diary of A K-Drama Villain - Min K. Kang

“Min K. Kang's The Diary of a K-Drama Villain is alive and subversive: each line undermining misperceptions of the Asian female condition with vinegary wit. Kang reclaims the lyric for the digital age; her style is the Engrish IM, the confessional missive as late night text, shredding that Anna May Wong avatar with vengeance. A startling and vibrant debut.” - Cathy Park Hong

3. Go Find Your Father | A Famous Blues - Harmony Holiday

“The voice in A Famous Blues / Go Find Your Father is so absolute and addicting and completing (Holiday, you complete me!) and enduring. And yet there is a specific politics underlying the poems in this book regarding the ‘work made for hire’ clause in many recording contracts. The poems in A Famous Blues feel like direct confrontations with this fact, but that’s mainly from interspersed texts telling the story of Holiday’s father, Jimmie Holiday. This half of the book spells out the concept of inheritance in concrete and explicit terms. Literally, Holiday has been in dispute for royalties she and her mother should be earning from her father’s songwriting. And so the concept of father as artist present in Harmony Holiday’s artistic life takes on a concrete character. It’s a point which A Famous Blues takes further when it speaks to influence with a listing of artists in ‘Lament for the Brilliance of Wolves.’ And I would say it’s this conceptual interlock surrounding the idea of inheritance that allows for so much centripetal motion in the poems. They hurl themselves outward in syntax and content and sentiment and everything, please. Yet they still hold together.” - Kent Shaw, The Rumpus

4. Essay Stanzas - Thomas Meyer

“A life of such patience must have led to Thomas Meyer’s Essay Stanzas (The Song Cave, 2014). In long poems in which each stanza offers itself as a discrete meditation, Meyer creates a book in which the largest of universal truths find themselves manifest in the minutiae of daily attention. My favorite of the poems, ‘Caught Between,’ opens the collection, is an exalted catalog of the things of existence—from light to ocean to river to tree to, most movingly, the animal kingdom—one that knows no list can be complete, and highest praise of the ten-thousand things must be modest enough not to strive to compete with the world of which it sings. Meyer renews poetry’s oldest dictate, placing upon his shoulders Caedmon’s own mantle: Now must we praise. Such praise isn’t a form of faith necessarily, not a religious tenet, but a kind of light, so that song brings to the eye what all there is that can be seen.” - Dan Beachy-Quick

5. Tender Points - Amy Berkowitz

“’Trauma is nonlinear,’ writes Berkowitz. I am impressed by the sensing form she makes. That has the day in it, as well as the night. The body, that is, in variable settings, frames and weathers. The stairs that ‘climb up my arms and neck.’ The ‘I am bitterly jealous of people who can always go back to being a barista for a while.’ This book is a kind of clutching and being there for real, and that is what I like. A book. That takes up. A visceral form.” Bhanu Kapil

6. Rumored Place - Rob Halpern

“Rob Halpern implodes new narrative tenets, collapsing all views of our condition and the means to express these views into each sentence at once: learned, aroused, mournful, and full of hope. His book conveys the intolerable crush of the ongoing, the grand brawl of contending institutions and concepts hectically alive past their deaths. Meanwhile the self continually gains and loses ID. The intensity of what is said displays the extent of what can’t be said. This emptiness travels along with the story in the future perfect tense, a negative space that has not been, an arcadia that cannot have been lost, beyond knowing but not beyond needing. It is also an orifice in the mind or body where the unspeakable of history might enter and speak.” - Robert Glück

7. Neighbor - Rachel Levitsky

“Levitsky interrogates just about every nut and bolt that goes into community, civic and otherwise, and incorporates political theory gently into Neighbor, particularly Giorgio Agamben (and her sly and irresistible sense of humor certainly makes us aware of the double entendre behind The Coming Community). ‘God or the good or the place does not take place, but is the taking-place of the entities, their innermost exteriority,’ Agamben writes. The neighbor insists on the private made public, public made private, and in that movement, inflicted upon both self and other, is the taking-place, taking of place.” - Marcella Durand, Jacket2

8. The Book of Light - Lucille Clifton

“Clifton's latest collection clearly demonstrates why she was twice nominated for the Pulitzer Prize. These poems contain all the simplicity and grace readers have come to expect from her work. The first few pages set the title in a larger perspective at the same time that they announce the book's premise: ‘woman, i am / lucille, which stands for light.’ This is a feminist version of Roots, charged with outrage at the sins done to women of previous generations. There are the typical heroes and anti-heroes: Atlas, Sisyphus, Leda, biblical women—but even these tired figures are given a new, often comic, twist: Naomi, for example, doesn't want Ruth's devotion, just to be left alone to ‘grieve in peace’; several poems are addressed to Clark Kent as the speaker comes to terms with the realization that he doesn't have the power to save her after all. And what do today's women have instead of superheroes? Jesse Helms; fathers who ‘burned us all.’ Though it is based more or less in traditional Christianity, the poetry also is concerned with how spirituality can be personal. Low key and poignant, poem after poem takes the form of a conversation, whether woman to her dead parents, Lucifer to God, or poet to reader.” - Publisher’s Weekly

9. Heath Course Pak - Tan Lin

“The book is interesting in that it’s specifically not interesting, it’s successful because of the way it fails, it succeeds so adequately at what it sets out to do that as a book it becomes a mere chore, an exercise. But the stamina required is beautiful, and Lin’s trajectory through the world of literature, as an outlier questioning things completely different than anybody else, is entirely necessary.” - Impossible Mike, HTML Giant

10. i be, but i ain’t - Aziza Barnes

“Barnes commandeers the page in her startling debut, putting into language a range of lived experiences that expose crucial gaps in language and history. These poems brim with black voices, so with some winking irony she marks the collection's five sections with quotes from Confederate general Stonewall Jackson, including his final words: ‘Let us cross over the river & rest under the shade of the trees.’ Demonstrating a firm grasp of the interplay of form and content, Barnes varies tone and structure to meet her needs. Her opening poem emulates the shape of a framed picture of Miriam Makeba used to kill a centipede in her apartment, ending with ‘a colonizer's thought’: ‘if I don't kill it now, how will I find it again?’ The collection rolls from there. With justified annoyance and amusement, Barnes expounds on sexual and racial identities, fraught social interactions, and various modes of desire. As the poems shift location (New York City, Los Angeles, Mississippi, Ghana), those issues reveal their interrelatedness even as they manifest individually.” - Publisher’s Weekly

[jillmckenzie1]

It’s STILL National Poetry Month!

It’s time to celebrate a few local poets. On Friday, April 13th there will be a Book Launch Celebration featuring three Denver University poetry students.

Diana Khoi Ngyen will read from Ghost of;

Jennifer Elise Foerster will read from Bright Raft in the Afterweather;

Alicia Mountain will read from High Ground Coward.

Event info: Starts at 7pm at Counterpath (7935 East 14th Avenue, Denver) All poetry collections will be available for purchase!

  About Diana:

“Born in Los Angeles, Diana Khoi Nguyen is a poet and multimedia artist whose work has appeared widely in literary journals such as Poetry, American Poetry Review, Boston Review, PEN America, and The Iowa Review, among others. A winner of the 92Y’s Discovery / Boston Review 2017 Poetry Contest, she is a PhD candidate in creative writing at the University of Denver.”      —Omnidawn

About Ghost Of:

WINNER OF THE OMNIDAWN 2016/17 OPEN POETRY BOOK PRIZE SELECTED BY TERRANCE HAYES

“Ghost of is truly a brilliant book. Amazing poetry happens inside visual innovations where “There is nothing that is not music, the pouring of water from one receptacle into another a coat of bees draped over the sack of sugar caving in on itself.” Poetry is found in the gaps, silences and ruptures of history. In “An Empty House Is a Debt” the poet writes: “There is a house in me. It is empty. I empty it. / Negative space: the only native emptiness there is.” These poems mean to make a song of emptiness and the spaces we house. They sing to and for the ghosts of identity, exile, and history. They sing like a ghost who looks from the window or waits by the door. Lyric fills in the holes in the story. Ghost Of is unforgettable.”      –Terrance Hayes

About Jennifer:

“Jennifer Elise Foerster is an alumna of the Institute of American Indian Arts, received her MFA in writing from the Vermont College of Fine Arts, and is a PhD candidate in English and Creative Writing at the University of Denver. Foerster is the recipient of a 2017 NEA Creative Writing Fellowship, a Lannan Foundation Writing Residency Fellowship, and was a Wallace Stegner Fellow in Poetry at Stanford University. A member of the Muscogee (Creek) Nation of Oklahoma, Foerster is the author of one previous book of poems, Leaving Tulsa.”    —UA Press

About Bright Raft in the Afterweather:

“Featuring recurring characters, settings, and motifs from her previous book, Leaving Tulsa, Foerster takes the reader on a solitary journey to the edges of the continents of mind and time to discover what makes us human. Along the way, the author surveys the intersection between natural landscapes and the urban world, baring parallels to the conflicts between Native American peoples and Western colonizers, and considering how imagination and representation can both destroy and remake our worlds.

Foerster’s captivating language and evocative imagery immerse the reader in a narrative of disorientation and reintegration. Each poem blends Foerster’s refined use of language with a mythic and environmental lyricism as she explores themes of destruction, spirituality, loss, and remembrance.”      — UA Press

About Alicia:

“ALICIA MOUNTAIN’s first collection, High Ground Coward (University of Iowa Press, 2018), was selected by Brenda Shaughnessy as a winner of the Iowa Poetry Prize. She is also the author of the digital chapbook Thin Fire, selected by Natalie Diaz and published by BOAAT Press. Mountain’s poems can be found in Guernica, jubilat, Prairie Schooner, Pleiades, Witness, and elsewhere. She has been a Pushcart Prize nominee, an Idyllwild Arts Fellow and a resident at the Virginia Center for Creative Arts. She is a queer poet, PhD student, and assistant editor of the Denver Quarterly. Mountain earned her MFA at the University of Montana in Missoula. ” —Alicia Mountain Website

About High Ground Coward:

2017/2018 IOWA POETRY PRIZE WINNER

“Alicia Mountain’s urgent and astonishing debut collection maps a new queer landscape through terrain alive and sensual, defiant and inviting. With a voice that beckons while it howls, Mountain nimbly traverses lyric, confessional, and narrative modes, leaving groundbreaking tracks for us to follow. High Ground Coward offers fists full of soil, leftovers for breakfast, road trip as ritual, twins of lovers and twins of ourselves. This world blooms with hunger-inducing detail, its speakers asking us to consider what it will take to satisfy our own appetites while simultaneously trying to nourish one another. “Ferocious, even the softest part,” Mountain shows us “a way to fall in love with wanting,” leaving us “ravenous, but gradually.”                —Amazon

These collections will be available for purchase at the event!

If you can’t make this event, be sure to check out next week’s article for more ideas on how to celebrate.

from Blog https://ondenver.com/its-still-national-poetry-month/