“Frank O´Hara reading his poem “Having a Coke with you” in his flat in New York in 1966, shortly before his accidental death. Taken from – “USA: Poetry: Frank O’Hara” produced and directed by Richard Moore, for KQED and WNET. Originally aired on September 1, 1966. This video was found where more videos can be seen: on http://www.frankohara.org”

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newest hangout…

Tan Lin, Eleven Minute Painting

Reading Module v. 0.1 (dub ver.)

Courtesy Penn Sound

Podcast of “Flarf vs. Conceptual,” a reading organized by Kenneth Goldsmith at the Whitney Museum of American Art in conjunction with the recent Jenny Holzer exhibition “PROTECT PROTECT”

Especially memorable is the reading by Christian Bök

Click here for a terrific review by Richard Hell of Aram Saroyan’s Complete Minimal Poems, which I am reading right now. One especially wonderful short poem goes like this:

y

ou

Here’s another one I like:

an oyster

can’t

read this

Just bought Seth Price’s book Poems, published by onestar press from Printed Matter, New York, among other wonderful things…

From ubuweb:

In this seven-minute sound poetry tutorial, Christian Bök takes the most difficult things and makes them pleasurable and completely understandable. Produced by Curtis Fox for the Poetry Foundation, Curtis tries — and botches — a snippet of sound poetry. He then hands the mic over to Christian who makes it soar. Bök then goes on to precisely explain the piece and its historic context. I can’t imagine anything better to use as a teaching aid to explain and demonstrate this art form.

Direct link to audio:

http://www.poetryfoundation.org/download-file?file=/audio/StopMakingSense_PoetryOffTheShelf050409.mp3

From the Poetry Foundation

http://www.poetryfoundation.org/journal/audioitem.html?id=1608

1

Who am I
to experience a burst
of star formation?

I know this—

after the first rush
of enthusiasm

any idea
recedes and dims.

2

Each one
is the inverse
shape of what’s
missing.

3

One might try
summing
the matter up

in a single
Judas kiss,

all bitter-sweet
complicity

and feigned ignorance

— Rae Armantrout

from thisrecording

I imagine long, drawn out breaths every time the writer hit “enter” on the computer keyboard.

Tim Griffin’s review of Ray Armantrout’s Versed

“Armantrout ably frames a highly mediated world using its own language, even as she deftly employs quotation marks and overly familiar diction to delineate those voices we “receive” in contemporary culture, leaving open and in perpetual play in her compositions the question of where the real begins and the (pre)fabricated ends, or where the poet emerges and where she disappears.”