Kritya

About: Kritya is an Indian based online poetry journal that has organized four poetry festivals. Kritya publishes poets from around the world, though it seems there is a Polish focus currently.
The layout is different from anything I'm familiar with, but very streamlined. However, it doesn't look like it's very visual arts friendly.

Featured Poets: Being that I am new to the experimental poety scene, I don't know anybody unless we read them in class. So, here are a few people that have been published in Kritya: Nabina Das, Cheryl Antao-Xavier, G David Schwartz, Bobbi Lurie, and Eileen Moeller.Cheryl Antao-Xavier

Editor: Dr. Rati Saxena is the Editor in Chief. She has published 6 collections of poetry (4 in Hindi, 2 in English), and has been featured in a variety of international publications. It also appears that each issue has one or two guest Editors.

Submissions: There doesn't seem to be any sort of deadline. The instructions for submissions are simple and can be done either through email or snail mail. They must be in unicode format; no attachments. They can be emailed to editor@kritya.in. or mailed to:

Dr. Rati Saxena
K.P. 9/624, Vaijayant,
Chettikunnu, Medical College P.O
Trivandrum -695011, Kerala India

DR. Rati Saxena
K.P 9/624, Vaijayant,
Chettikunnu,Medical College P.O
Trivandrum -695011,Kerala India

Parthenon West Review

While I was in Berkeley, I went to Pegasus Books, a renowned poetry hot-spot in the Bay Area and found this little gem of a magazine.  Although it calls that bookstore its spiritual home and seems firmly rooted in and supported by the San Fran scene, it seems to contain work by many up-and-coming young poets from all over the country (and world).  Why not some Tulsa-based writers?  Here's the skinny:

Editors: David Holler and Chad Sweeney

Web: www.parthenonwestreview.com

Submissions: 3-7 poems in on Word document by email or snail accepted between Oct 1 and Apr 15 (so act now!)

Address: editors@parthenonwestreview.com

1808 Russell St.

Berkeley, CA 94703

Aesthetic: A wide variety of avant garde styles from Beat and New York School to Language-esque Poetry experiments.  Also accepts translations and creative essays.

Some names: Timothy Liu (classmate of David Golstein), Bruce Coovey, kari edwards, Johannes Goransson, and Kevin Magee.

Bird Dog

Hey, cool, Dr. Jenkins is in Bird Dog. Did you show us this one in class?

It is "A journal of innovative writing and art: collaborations, interviews, collages, poetry, poetics, long poems, reviews, graphs, charts, prose poems, non-fiction, cross genre..."

...but there are no archives available online. Even so, this sounds like us, for obvious reasons.

Issue ten includes: C. S. Carrier, Christopher DeWeese, Emily Kendal Frey, Anna Fulford, Anne Gorrick, Jac Jemc, Grant Jenkins, Meghan McNealy, Sara Michas-Martin, Cheryl Pallant, Nicole Pollentier, Sarah Rosenthal, Linda Russo, Andrew Sage, Brandon Shimoda, Maureen Thorson, Emily Toder, Laura Madeline Wiseman, David Wolach.

The site doesn't name the editor(s). You can ask Bird Dog questions at birddoginfo@yahoo.com, but don't send them electronic submissions.

Send your submission by September 15, 2009, with a SASE to their little mailbox:

Bird Dog
PO Box 85687
Seattle, WA 98145-1687

Past Simple

The only contributor to Past Simple I've heard of is Fanny Howe. Although their editors, Marcus Slease and Jim Goar, describe the journal as "some innovative poetry and prose of Ireland and Britain," the next issue is open to submissions of writers "from every corner of the earth." They require that you submit a link to your stuff from a blog. (Does this one count?)

They are an online-only journal. I didn't find any physical address or submission deadlines. It seems pretty relaxed, but it would be cool if you got your stuff published here, because Fanny Howe did.

Octopus

Meet Octopus. It is edited by Zachary Schomburg & Mathias Svalina.

 It seems so weird and awesome. Each issue of their online magazine looks very different, and all of them are visually pleasing.

 Octopus is an online poetry magazine that was founded in the spring of 2003 by Tony Tost and Zachary Schomburg. It is named after a sea creature that is intelligent, lives in dens, and uses ink as a defense mechanism. Every issue features a combination of 8.

I'm not sure what this means, but they might appreciate it if you somehow worked 8 into the text or form of your poetry.

Issue #10 is pretty minimalist--eighty black dots on a white background, each dot leading to a different poet, but they aren't independent links. So if you want to look at my recommendations, you'll have to count some dots.

Cynthia Arrieu-King. Column 7, row 5.
Sandra Simonds. Column 3, row 10.
Phil Cordelli. Column 1, row 4.
Paul Muldoon is in Issue 5.

The number of poems per poet generally ranges from 1 to 4, and some of them are translations from other languages. Although most of the poems appear more "mainstream," I think some people in our class would find that their poetry would fit here.

Technically the magazine accepts submissions all year round, but Octopus Mag only reads submissions in the eighth month of the year:

"We are reading submissions of poetry during the month of August. Please send a friendly number of poems in one MS Word attachment before August 31. Introduce yourself to us in the body of the email and feel free to include a list of previous publications, if any.   

Email them at octopusmagazine@gmail.com.

For those of us working on longer projects: Octopus Books accepts submissions for poetry books until April 30th. Check out their cool-looking, mostly sold out books and chapbooks. They only publish two per year, but if you have something really good, you should go ahead and submit. They prefer electronic submissions, but you could also mail your MS to them if you want. There is a $10 reading fee, which is one of the lowest book submission fees I've ever heard of... so go for it!

Octopus Books
1031 SE 21st
Portland, OR 97214

Etude, or something

So,

I was tapped for the next etude, and I totally forgot until... well, now. Since it is Monday afternoon and we meet in two days and I don't know about you but I certainly don't have time to churn out anything interesting by the time class meets, I propose that this etude be due next class period.

As for the etude, Dr. Jenkins requested that it be related to the discussion we had before Spring Break about trauma. I have deep concerns about the practice of writing about trauma on command. It seems too removed and artificial to simply decide to write from the headspace/ wordpsace of trauma. That said, to write directly from trauma is to experience it, something at best unpleasant and at worst triggering of past trauma. So we're going to approach this side-on.

1. Choose a fairytale. Old, authentic ones (Grimm, Andersen) are best, as these often involve lots of toes being chopped off and people turning into stone and such. Read it if you don't already know it by heart.

2. Pick a scene or character that appeals to you or is particularly striking. Since this is a trauma poem, do not choose the part where the prince triumphantly kills the dragon - unless you choose to write the dragon. Ex: How the first stepsister must have felt when she cut off her big toe in order to fit into Cinderella's glass slipper.

3. Write a poem not necessarily retelling the story, but from the general atmosphere of the bit you picked.

I hope that was clear. And if you want to do something similar to this but not exactly the same, go for it.

E-Ratio Postmodern Poetry

E-Ratio Postmodern Poetry
1) Address: www.eratiopostmodernpoetry.com
2) Editor Gregory Vincent St. Thomasino
3. A few names of people that have been published:
David Appelbaum
Donald Wellman
Mary Ann Sullivan
Joseph F. Keppler
Patrick Lawler
James Stotts
David Rushmer
Melanie Brazzell
Jennifer Juneau

Here is a poem that I like: http://www.eratiopostmodernpoetry.com/issue11_Brazzell.html
3) “E-Ratio publishes poems in the postmodern idioms with an emphasis on the intransitive” INDEED IT DOES.

I sent homeboy Gregory Vincent St. Thomasino an email asking some questions about submitting and here’s the info I got from him:
-No simultaneous submissions
-He will usually respond to a submission between two weeks and two months. If he takes longer, that means you’ve been shortlisted.
-He didn’t really answer my question about when he stops accepting submissions, he just said that he reads them right up until the production process is over and the issue is ready to go online and that he begins reading for the next issue immediately.
-He usually accepts anywhere from nine to 19 poets.

Spell

1) Information from website, http://spellmag.livejournal.com/
"Please have familiarity with past contributors' work.
Submission period open until July 20th. Send up to 15 pages.
Submit electronically to eric.unger@gmail.com, SPELL in the subject line."

Also, the post address is

Spell
c/o Eric Unger
3540 N. Lowell Ave.
Apt. 1L
Chicago, IL 60641

2) Editor, Eric Unger

3) These authors are listed from the past issue on their website:
Alan May / Tom Wegrzynowski
Michael Slosek
Andrew Hughes
Nico Vassilakis
Sarah Menefee
Jessica Wickens
Jesse Ferguson
Kevin Mcpherson Eckhoff
Aaron Lowinger
Catherine Daly
Michael Carr

4) Once again, combinations of visual and verbal poetry. Also, philosophical. Brief, ephemeral.

Born Magazine

This one reminded me of the opportunity Dr. J sent us earlier from Rob Nickels. The journal appears to be online and focus on collaboration, specifically between written, visual, and audio.

1) For off-line projects, visit http://www.bornmagazine.org/helpwanted. For online projects, visit http://www.bornmagazine.org

2) The editor is Anmarie Trimble.

3) Currently, the works on their website are by Gareth Lee and Allison Seay. David J. Daniels is one of the contributing editors and teaches at the University of Denver.

4) The piece by Allison Seay, for example, reminds me a little bit of a child's pen-and-ink storybook. It uses Flash animation to peel the words away from the screen in a whirl of fragments. Since mutability seems to be a theme, I guess that's appropriate.

Columbia Poetry Review

1) Columbia Poetry Review
English Department
Columbia College Chicago
600 South Michigan Avenue
Chicago, IL 60605

http://english.colum.edu/cpr/
columbiapoetryreview@colum.edu

2) Student edited journal, so I'm assuming their editors change at least every few years, if not every issue

3) According to the website, Barbara Guest, Denise Duhamel, and Alice Notley have been published here, as well as Rosemarie Waldrop.

4) Copies cost $10 a shot, so I didn't get one. Hopefully, though, the names above will give people some idea as to what they publish.

Here is the information from the website about submitting poetry.

"Our submission period extends from August 1 to November 30 of each year. We do not accept more than one submission per poet during our submission/reading period. If you were published in the most recent issue of CPR, please wait one issue before submitting again. We avoid publishing poets in consecutive issues. Please note that we do not accept more than five pages of poetry. We will respond by February. Submit to:

Editors
Columbia Poetry Review
English Department
Columbia College Chicago
600 South Michigan Avenue
Chicago, IL 60605

Email submissions are not accepted. Please supply a SASE for notification only. Submissions will not be returned. Poems submitted outside our reading period will be returned unread."

Poetry contest

The Academy of American Poets currently has a Free Verse Project and contest: you take lines from your favorite poems, write them somewhere (i.e. in sidewalk chalk, sand at the beach, twigs on the ground) and submit a photo of it via email, Facebook, or Flickr, by April 15. Three winners receive a Jeanine Payer cuff* (jewelry with poetry engraved on it), and a copy of the Poem in Your Pocket anthology. Even if you think the prizes are lame, it would be fun to enter, tossing in some images with Oppen poetry alongside everyone else's Shakespeare and Rilke quotes.

*I honestly like Strix Werks better.

good job everybody!

wasn't that fun? :)

Another One

Same words, different colors and arrangement.

Shape Poem

Sorry it took me so long. Here is my etude.




Words derived from my website.

Update and Reminders

I just got back from a bitchin' trip to San Francisco and have much poetry goodness to share with everyone.  I'll try to blog about it, but I will at least save it for our next meeting. 

Speaking of which, remember that THERE IS NO CLASS ON WEDNESDAY.  However, I will be in-and-out of The Collective during our regular class time if you want to come in and talk about your portfolio, which is due at the reading on Thursday.  Now to my second reminder:

CLASS POETRY READING

Thursday, March 26, 7pm

The Collective Cafe

Invite your friends and family so they can hear the awesome work you've been doing this term!

Research Project Assignment

Let me know if you have any questions about this assignment:

etude 6 and comment

About Blanchot and Pallant: This seems to me one of the closest (or perhaps most obvious) fits between criticism and creative writing so far. Also, thanks to a science class in which we studied black holes, I was fascinated by the use of "singularity" in both Blanchot and Pallant since in a black hole, the singularity (if I remember right) is where spacetime warps and the measure of the gravitational field becomes infinite. Since Blanchot emphasizes "disaster as literally "away from the star", it seemed appropriate to think of "singularity" also in terms of astronomy and places where the limits of our understanding of space and time become practically useless.

Etude 6-jenkins

This poem reads decently from left to right in rows and columns and up from the lower right hand corner in columns but not so well right to left as rows either from top or bottom.  Oh, and the words in each row are anagrams of the word in the far right-hand column.

Just Wanted to Say

Everyone that read at the Collective on Saturday did awesome! Good job, you guys.

For those of you that didn't go, you missed out. You should check out Grant's youtube channel to get the scoop (and also, listen to the really crazy guy who yelled a lot).

http://www.youtube.com/user/gjenkins07

-Strix

Hey blog heyyy: Etude Six

Dr. Jenkins suggested that I make up an etude that's sort of inline with what I'm doing with my circles and all, so I think I came up with something that I like. Here goes:

In class we've made a big old fuss about reading for the line vs. reading for the stanza.

So, I wanted us to maybe write some poems that can be read both forwards or backwards, up and down, clockwise or counter-clockwise(in my case, I guess), or in any number of ways. They don't need to make perfect sense in all directions, but it would be cool if the different ways of reading the poems produced some kind of dissonance--or maybe some kind of harmony?

And hey, go ahead and make it in a cool shape if you want.

The whole thing is pretty open ended, so go crazy with it, plz.

Where are you Walter Benjamin?

(Comments welcome/desired on this poem and whether or not to leave Benjamin's name in the title.  Please)

Between the branch and the image of the branch.

Between a mountain and a range over you.

Between resting on a summer afternoon and its parasitical dependence on ritual.

Between make it easy and the urge grows stronger.

Between the tradition itself and what is thoroughly alive and extremely changeable.

Between organic fornication and mechanical reproduction.

Between how the actor represents himself and what you follow with your eyes.

Between world history which casts its shadow and graduated and hierarchized emancipation.

Between the ancient craft of the beautiful and a series of optical tests.

Between the elk portrayed by the man and the line.

Between the position of a critic and certain statues of gods.

Between an afforded spectacle accessible only to the priest i and permits subjected to consumers who constitute resistance of cult value.

Between certain covered Madonnas and the walls of his cave.

Between an analogy with a surgical operation and an ultimate retrenchment it retires into.

Between the feeling of strangeness that overcomes like scenes of crime and a land in the orchid of technology.

Between the audience on the take and the human countenance freed from the foreign substance.

Between an aesthetic pleasure of the first order and today seeming devious and confused.

Between the market feel as if in exile and vanishing into silence.

Between the stage but also from himself.

Between a vague sense of discomfort he feels with Walter Benjamin and the polar opposite of the magician.

Between his body as it loses its corporeality and the flickering of an instant on the screen.

Between the broad stream of mediation it evaporates and a certain situation, like a muscle of a body

Between inexplicable emptiness and the goal only war can set.

Between a surgeon deprived of reality, life, voice, and the noises and his moving about, in order to be changed into a mute image.

Between the cameraman penetrates deeply into its web

Between the reactionary attitudeand a Picasso painting changing into a Chaplin movie.

Between the truly new that is criticized with aversion and the possible perceived for architecture at all times.

Between the comparison with painting is and the epic poem of fruitful perception.

Between the studied degradation and an assured but rather vehement distraction

Between the shock effect of the commonplace and the instruments of ballistics it hit.

 

 

Benjamin

I've read "The Work of Art in the Age of Mechanical Reproduction" a few times, and every time I come up with a different meaning for his concept of "aura". He talks about "aura" as being the work of art's "presence in time and space, its unique existence at the place where it happens to be". Perhaps the work of art as intersection between a specific set of cultural values and philosophical traditions, particularly as brought to it by its original viewers (though I wonder about the accuracy of that because not even all the "original" viewers of Impressionist art, say, would necessarily have the same cultural values). The question I have in particular, I guess, is whether Benjamin thinks "aura" is good or bad. Sometimes I think he likes aura as a sort of authenticity. Other times I think he criticizes it as elevating art above the masses (Marxist critique?). And then of course there's his epilogue about war as political aesthetics, which always puzzles me....

More possible portfolio poetry.


"Though I walk through the valley of deep darkness"
Honeycombed brain twisting heart roped throat
labyrinth aorta ventricles feeding minotaur
in dark places of world, fill habitations with violence
valleys of deep darkness, armpits, eyelids, neck
soft folds, tendons, bones freckled skin

"characterized by absolute or relative absence of light"

Standing under medulla medusa wrapped
tentacles along spinal cord, this inside minds
writhe gloom consuming by enzymes

"A dark house was formerly considered a proper place of confinement for a madman", obs.

Shining on floor, yellow rectangles, three-by-six
eyes invert images automatically match medusa
walking through the valley of deep darkness
"I will fear no good, for you are not with me"
crawl away from coffins shining on carpet,
away from holes onto empty iridescence,
skull, entrails, epidermis quivering
into

Portfolio Poem

Here is a portfolio poem of mine

DEFeated

 

Struggling for basics

Food and humanity

None may leave

 

An over/under mistake

 

Rename for

Retreatment

Classification purposes

Reopen trade routes

 

Man’s handwork

Moving earth

Enforcing dominion

 

They must pay for their actions

Their crimes

They must work

To become free