Back to Back Amazing Events! Join us for a reading on Friday evening and a workshop on TransTranslation on Saturday. Details for both below!
Yes! Reading Series Welcomes Jay Millar, Mark Goldstein, Marianne Apostolides and Andrew Hugues 11.19-20.10
Please join us for a wonderful reading!
See excerpts from their work below.
From Cynthia Hogue’s When the Water Came: Evacuees of Hurricane Katrina
Excerpted From: Victoria Green, Mother of Four
If the lake was flooding the city,
we knew it’d never be the same.
CNN was showing people on houses.
This was not a strange neighborhood to me.
This was my neighborhood.
It’s where I went to school. Where
I shopped for groceries at Circle Food.
I got married at that church,
christened my children, buried my kin.
New Orleans is the cornerstone
for spirituality, the stomping grounds
for psychic ability. You don’t
get on the bus and go somewhere else.
It’s our culture. You’d have to be a citizen
of New Orleans to understand.
I was here a week and my mother passed.
She never had been sick.
I think any of us would trade
any charity we got to go back
to August 15, 2005 and warn all our family
that terrible storm would take everything away
from us. But we don’t
get those chances.
We get what we get.
Sam Truitt’s poem “Mobile”
mess=nest. that’s to not rely
“just the way it on words—these
happened to be”
a statistical reliability makeshifts—to
in gain of diversity blaze
450 BC no key
that made it work
out but shift came picture-
in the form of zero frame—what the eye
fragmented (mobile) falls on—to
Skin. Parchment. (thirst?)
or all that is describable is a workable system
you wave the first word & the whole thing
overwhelming the world
Yes! kicks off its Fall 2010 season with three wonderful writers. Please join us for an evening of delight!
Poem by Jennifer Karmin author of aaaaaaaaaalice
desk / a table frame or case esp. for writing and reading
the alphabet a a a a a a a lot
comes after a box of papers some
things to do lots of things to do get
things done in the real world get things
done in my world a calendar is useful
a good invention pens books what else
bills letters to send postcards stamps
lists and lists of everything notebooks
full of ideas learn to play chess work on paintings
film to develop a tape recorder mom plays o sue zanna
mail always comes try to decide what should go
in every drawer everyone has a junk drawer
i am organized and not very organized
Excerpt from Maryrose Larkin’s Late Winter 30
The pressure of facing the why section when I wanted horizon
pressure dropped winter angle face and spring 50% pushed
through grey replacing from the top and patchy
no winter or late winter
shiver cover some can never
Late one in whirl no opposite morning cross struck pink
change insoluble atmosphere east facing mothering under
but not mother not cinders not mocking pushed into wings
late suffer other petal synoptic surface shadow and 50% no 50
pansies no 30 pansies silver light on the fence
rain the written
Sarah Giragosian’s “The Glass Squid”
Nearly unseen, so limpid
as to be lost, the glass squid
is a genius of minimalism;
even its outthrust eyes conceal their long shadows,
their undersides casting forth light as from street lamps
and effacing their structures.
The glass squid never outgrows
its safe, calflike translucence,
although I wonder if it feels quite safe
when it passes its predators: moire chambers
with electric lures and waving, tentacled things
that shiver against seaweeds
or medusa heads, trawling
or still. Night is a fiction
below, yet the darkness that the diver
caught on camera could be in a Caravaggio.
There’s a cost to see the squid’s eyes tricked into sight;
its dark, broadside world was lit
for an instant not by light
of its design. Was it scared?
Some survive with minds that are semaphores
of alarm, while others cope with a force–violent
and vestigial–that nests above in neural
readiness, quick to transmit
its misprision, as in love.
I look as if at a sphinx,
as if we’re bound together in exam
or fugue, while some strange atavism vies within.
Configured so, I soon look away, though masked eyes
can look as through a glass seal.
@ the Social Justice Center, 33 Central Avenue, 7:30 pm
Poet and Professor, Kazim Ali is a UAlbany alumni the author of two books of poetry, The Far Mosque (Alice James Books), winner of Alice James Books’ New England/New York Award, and The Fortieth Day (BOA Editions, 2008). He is also the author of the novel Quinn’s Passage (blazeVox books), named one of “The Best Books of 2005” by Chronogram magazine, The Disappearance of Seth (Etruscan Press, 2009), Bright Felon: Autobiography and Cities (Wesleyan University Press, 2009) and Orange Alert: Essays on Poetry, Art, and Architecture of Silence (Michigan UP, forthcoming).
He is an assistant professor of Creative Writing at Oberlin College and teaches in the low-residency MFA program of the University of Southern Maine. His work has been featured in many national journals such as Best American Poetry 2007, American Poetry Review, Boston Review, Barrow Street, jubilat and Massachusetts Review. He teaches at Oberlin College and the Stonecoast MFA program and is a founding editor of Nightboat Books.