I am excited to announce that one of my poems will be featured in the journal, Art & Letters! Issue #1 is just out so it’ll be a while but I’m willing to wait. Stay tuned for more updates!
The poem below was long ago published in a journal of the short poem, Noon, and is now to be included in an anthology of the best of the short poems from many issues, to be published by Isobar Press of London and Tokyo, in April or May 2019.
I am pleased to announce that I recently worked with Linda Chase, and attended one of her classes last week to collaborate with her current NEC ensemble. Linda’s students, graduate and undergrad, collaborate with artists of other kinds. I read some poems & they improved to them and we did a few poetry exercises as well.
For more about Linda: necmusic.edu/faculty/linda-chase
I am looking forward to being part of the Pioneer Valley Poetry Festival at Amherst College the weekend of October 12. Other readers are Elinor Nauen, Patrick Donnelly, Fanny Howe, Brian Henry, Uche Nduka, Eleni Sikelianos, Monica de la Torre, Sawako Nakayasu, and Michael Leong.
Get in touch for more information.
The full article can be found at Greg Cook's Wonderland.
Happy to be invited to read in this Saturday afternoon series, organized by poet and editor Ben Mazer. I will be reading with Fanny Howe in February.
186 Hampshire St
Inman Square, Cambridge
For more information: www.facebook.com/Outpost-186
Here is the full schedule:
Sat. September 30, 4-6 pm
Sat. October 28, 4-6 pm
Sat. November 11, 4-6 pm
Sat. December 2, 4-6 pm
Sat. January 6, 4-6 pm
Judson K. Evans
Sat. February 3, 4-6 pm
Sat. March 3, 4-6 pm
Happy to be a participant in this project:
Dear friends poets and artists,
To celebrate my participation at the Medellín International Poetry Festival 2017, where I am performing for the second time (the first was in the early nineties) as a poet and an electronic poet, I have created the online poetry happening "Medellín Highs Medellín Blues” where poets from all over the world are invited.
Participation in "Medellín Highs Medellín Blues" is free; young poets and artists are encouraged. The theme is free, but texts on the topic of peace and friendship among the peoples are welcome.
You are invited to post your poem (max 30 lines) or enter a picture or video (please, send a YouTube link) in the comments of this post.
If you want to share, THIS IS THE LINK:
If you find problems in posting or you want to stay in my mailing list, to stay tuned about the development of this project, or you just want to contact me privately, please write to: email@example.com
Everyone is welcome!
Launch for spoKe Magazine Hosted by Kevin Gallagher Readers Ruth Lepson Sue Standing Alison Vanose Marc Vincenz The Grolier Poetry Book Shop ("the Grolier") is an independent bookstore on Plympton Street near Harvard Square in Cambridge, Massachusetts, United States. Although founded as a "first edition" bookstore, its focus today is solely poetry.
As published on: http://dispatchespoetry.com/articles/letters
A Poetry Innocent: What Comes to Mind
Which is not to say that I don't have strong feelings about the necessary relation between poetry and sound. Without it, poetry is to me faded old drapery. With it, there is the movement of molecules that pervade the world.
Having no idea until recently about the Olson disputes I am inclined (like someone reclining after a seder) to say here I am in the middle, which seems to be a kind of muddle but to my mind isn't. There is room for discussion of Olson and gender without being dismissive of his work. It takes nothing away from the poetry though it may modify it in our minds.
Bill Berkson recently sent me Merleau Ponty's essay on Cezanne. There it's all spelled out, systematically. The knowledge that who we are born and what our early life is limit us profoundly but that the choices we make in our art are what free us. The two are inseparable--and how could they not be, given that every choice we make comes from our sensibility--how could it be otherwise? Yet given that sensibility one could move in a number of directions and therein lies a certain amount of freedom and even an earth-shattering way of knowing the world that can be conveyed to some extent to others.
Namby pamby? I don't believe so. Just inclusive.
It's vital to fight about that which we believe in the arts--that is of course how they progress. To me the Black Mountain poets moved poetry along, a train that was chugging slowly till wham WCW gave it some steam and others such as Olson, Creeley, Levertov, Duncan, also The Objectivists said let's go for a fast ride, and so we did. Or to put it another way we slowed down and looked around.
Rachel Blau DuPlessis' measured writing has always added to my understanding of Olson and Creeley and others. That's all.
Can someone be a Zen master and still be limited by the consciousness of the age? A question I often asked myself when young. The answer, I now take for granted, is that a person can go beyond ordinary life into we know not what and yet in one's daily life hold certain beliefs which may be infuriating to others.
Tangentially related: I have heard that in India some prisoners, even murderers, who renounce their deeds may be freed in order to become Buddhist monks who beg for a living. Couldn't Dostoyevsky have made something of that! Would you be profoundly changed if society treated you profoundly differently or would you just continue if you were say a sociopath, on your (excuse me) social path as before, fooling people?
There are no complete answers to these questions. Poetry is questions without final answers. Poetry to me is an integral from Creeley to Rich, but these two poets aren't mutually exclusive since both have a superb sense of sound and are visionaries, each in her/his way.
I recently read this poem at the ICA Black Mountain College exhibit.
Fielding Dawson Portrait of Cy Twombly
your chair looks kinda wobbly
I think you’re an anomaly
sliding off the chair
broken by lines in a grid
it’s time to stand–
but sit for another minute
give us your specifics
wait — you don’t care
what you get across
or to whom
large, your hands
rest beside each other whitely,
parallel like piano keys
your shirt’s white
the window behind you is kinda’
sketchy in 1951
a small face
full of interest
a black button
on a worn blue jacket
you might jump up
and draw squiggles
your body’s both curvy and angular
a bit of white sock
usual blue pants
a blue jacketbits of
brown butcher paper
your collar’s upturned and
your hair’s a bit of tweedledee and tweedledum
the wood floor is what you were
guess that’s a watch on your left wrist
your shoelaces and the
stripes of your collar–
you were about
little things like that
employing house paint
colored pencil and string
among other things
your acrylics are bright
what did you do at night I wonder
you give us just a smidgen of
what’s in that head of yours
socialized with you
no separation between
the art and the doing
the art and the life
remaining unnoticed you were happy
you broke things down to
build them up again
cy means baby in greek
master in english
which is what you speak
the british family twombly
had a coat of arms which
you may have found alarming
a hands-on man
plain so you could
put it all in the work
triangles all around–
your right leg forming an
acute angle with the chair
things one might not notice
at first–your sagging belt
the pocket on your jacket
feet turned slightly outward the way
a man’s supposed to sit
eyes closed or just looking down
the lines of the floor drive the painting forward
as if thrusting you towards us
colorful cartoony one
your shoes shaped and colored violins
bits of purple and green
far away barely seen
make the blue less flat
the painting works against the
flat canvas though it’s semi-abstract
it’s an impression and makes an impression
of cy twombly
will you have coffee with me?
no? you want to get back to your studio…
stand up, walk away, the day awaits
dawson chose the colors of nature for you
you’re off in your head to
a greek isle
a sumerian temple
a grouping of flowers
part of progressive art, you said,
is the complete expression of one’s personality–
you drew in the dark to develop your line
a wobbly line a kid’s kind of line
I saw you as a baseball player before I knew
your father named you after
a chicago cubs pitcher
you married a baroness and called your son cy
grew up in virginia hopped over to rome
in between relocated twice a year
your sculptures as talismans to
guard you on your way
edwin parker cy twombly jrhey
you influenced basquiat, kiefer, clemente and schnabel–
keats and mallarmé appear in your work
rilke and virgil as well
space in your huge canvasses
for them all
influenced by giotto
you painted a blue sky
on a ceiling in the louvre
with sun and planets perhaps
painted over with names of greek sculptors
dawson painted you with
2/3 blue wall behind you
1/3 yellow floor
it’s right proportionately
for your blackboard paintings you
‘sat on the shoulders of a friend who shuttled back and forth
along the length of the canvas, thus allowing the artist to create his fluid continuous lines’
work as a cryptographer for the army influenced what–
your scripts andpictography?
amazingly, charles olson worked in washington, too
cambodian-french artist rindy sam was arrested after kissing one
panel of your triptych phaedrus, which she smudged with red lipstick.
at her trial she defended her gesture:
‘J’ai fait juste un bisou. C’est un geste d’amour, quand je l’ai
embrasse, je n’ai pas reflechi….’
‘It was just a kiss, a loving gesture, I kissed it without thinking; I
thought the artist would understand….It was an artistic act provoked
by the power of Art.’
‘[ms] sam was fined and compelled to take a citizenship class.’
a frenchwoman stripped in front of your
orpheus’ trip to the underworld
saying, that painting makes me want to run naked.
you were delighted, who else? you asked,
could have that effect? I might add,
especially in houston, texas.
As published by The Brooklyn Rail:
Ruth Lepson has been the poet-in-residence at the New England Conservatory of Music for 20 years. Her new book is ask anyone, from Pressed Wafer, with musical setting available (soon) on the PW website. She's been collaborating with musicians for some years now and will be making an album this spring with Noah Preminger, Frank Carlberg, and Simon Willson.
what to do
it's a universe of
call it or live in
as if it were true
as if the
tease that is the
world that says
this is today what
are you doing as if it
ever go away
as if you
want it to
do you feel
you go down
stairs make the
cleaning the coffee pot
you burn with an inkling of
what the day might mean
it has a sheen that is
open to you can you
press it can you
say I love you to
held in by some
fear you recognize
all your life
of course you
are that's nothing new
and it's complicated
damn it to hell
Our old poetry group--Trace, Joel, Jocelyn and I--gave ourselves an assignment to make poetry maps--just unearthed mine.
I was exaggerating my plight.
Once I was betrothed.
In the bee-loud glade.
Once I blew glass.
Once I fasted.
Once I lived in the past.
You are talking about me but
not in the way I imagined.
The poet's a magician/musician/sometime mathematician.
I've been trying to get to you.
Howling till I drop
till the last
drops fall from my thin skin.
Hangin' around like some pigeon.
Noah Preminger ★★★★ Pivot: Live At The 55 Bar / Independent release.
Pivot is an album of just two tunes that stretch 30-plus minutes each. It’s an audacious set up by the serious saxophonist, Noah Preminger, who plays with an intensity that gives this date its unique edge. Recorded live by Jimmy Katz at New York’s 55 Bar, a small, murky basement space in Greenwich Village where jazz thrives and music is always the best thing on the menu, you can sense the tension as the quartet fires up. On the side, Preminger is an amateur boxer (his excellent 2013 recording was titled Haymaker)—on Pivot he comes out swinging with brash, muscular resolve. Playing along side trumpeter Jason Palmer, bassist Kim Cass and drummer Ian Froman, his deep tenor growls and sings as if possessed by ghosts of a jazz past—maybe Ornette Coleman, yet more like Coltrane whose Ascension was an album of 30- and 40-minute compositions.Preminger’s gig has an alternate spirituality, specifically the Delta Blues singer, Bukka White (1909-1977), whose discography the saxophonist has devoured.Only 29, Preminger has a sensitive, old-soul quality that infuses his playing with deep feeling. On Pivot, his fourth album, he punches above his weight, with sustained and breathless free-spirited solos. Listening to this album is thrilling—part throwback to the 60s when jazz took free-form improvisation to new frontiers, it’s also remarkably current. Neither Preminger nor his piano-free quartet run out of steam or ideas—they just go.
www.noahpreminger.com (2 tracks; 64 minutes) from ICON.
Live Saturation is a composition for flute and electronic music by Jean-François Charles. Text after, "Saturation", a poem by Ruth Lepson, read by the author. Live recording in Paine Hall, Harvard University, on May 24th, 2008, starring flutist Mario Caroli. Concert organized by the Harvard Group for New Music. It constitutes the minutes 1 to 5 of the 60/60 interactive composition project. The electronic music is dedicated to participants Katherine Lee and Brigitte Urien.