Uha / Mulhouse Poetry Club hosted by Yann Kerdiles

Our wonderful Dean of Studies, Yann Kerdiles (pictured here), in the FLSH building works hard to make everyone remember the value of poetry, not only for poetry itself or to promote any one author, but for its eternal international musicality as it crosses borders and languages.

Thus he organizes, once a month, a lovely evening entitled "POETRY CLUB" where students, teachers, people from the community, friends of friends gather and share work of their own or other poets in numerous languages. I was quite honored to begin my life here as new tenured faculty by being invited to be a guest reader at the Poetry Club in September, where a lovely crow showed up for treats and drinks and an evening of readings including my own. I learned that the most languages ever represented at a Poetry Club event was SEVENTEEN! (I remain agog at that) but the evening I read there were certainly a fair number, from English and French, to Berber, Arabic, Chinese, Esperanto and more! When is the next event? The 10th of NOVEMBER (in the room above the Cybercafé inside the RestoU in case anyone is in Mulhouse and wants to go!) and focused on UKRAINIAN poetry! This month's was featuring a work based on a voyage to POLAND. Here are a few pics from the eve in September, where I was the honorary guest and had the great pleasure of meeting and becoming acquainted with the Mulhouse poetry scene!

Arrival:

Snacks galore! Everyone meets everyone thanks to our kind and dynamic host. So we chat with new acquaintances in a variety of langauges while munching on treats catered by the UHA: After, Yann gives his intro to the evening as we settle down in our places. The crowd is warm and interested it seems in whatever the evening might bring to them...

I was very honored to be part of the evening and read a few of the series of Orph/Eury poems which have been translated by the talented Christophe Marchand-Kiss (French poet residing in Paris). Since he could not be there to read the French, and I did not wish to read and have the work filled with my accent, Noelle Cuny--uha professor of English who I have been delighted to be getting to know week by week as we share office space--was kind enough to come over to the Poetry Club and do a great reading of the French texts off the cuff! It was lots of fun.

Then, my part outta the way, I was so happy to sit back with everyone else and listen to so many languages and poems, some accompanied by music, wafting over us.

The readings included one in esperanto (I have now heard him read twice and feel quite guilty to have not gotten his name yet, but will add it here when I do!!!) :

Then here are some guys who are from the local Berber cultural society who played music behind a reading in Berber by the women pictured just afterwards.

Here again (below) we see Yann, constantly helping everyone adjust the microphones and getting them into the groove! I cannot recall in fact the language of this reader (sorry, the event was in Sept) but I like very much the picture pre-performance of him getting into position.






An evening of all-that-poetry can do would not be complete without a little SLAM! This young man came to share some of his slam work in French and to let everyone know about a new poetry slam scene which is trying to increase its membership and visibility in Mulhouse.










He was not the only French reader, here are a pair of students who did a reading with music: a clarinet for one piece and even, for another, a mouth harp!

... And then, the soirée comes to its close but so many people still want to read and to listen. So, as everyone filters out into the full moon night, one of the readers who is just visiting and so wanted to read some poems in Arabic stands under a lamppost to share a few of the poems before everyone heads home with the music of these languages braiding together in various rhythms in their minds.

A lovely eve--and how funny, now that it is getting chilly out, to think we were wearing sandals and summer dresses (well some of us at least) only a little over a month ago!

Frankfurt Book Fair: The last day...

drained of most of its authors, booksellers, even perhaps public visitors is the Frankfurt Book Festival on its last day. It is, therefore, a bargain-hunter's wet dream, should that bargain-hunter be seeking to carry more weighty fiction items home with her than she arrived with!!!

My exciting finds include:
from Coffee House Press http://www.coffeehousepress.org/:
Laird Hunt's Ray of the Star,
Aaron Michael Morales' Drowning Tuscon,
&
Karen Tei Yamishita's I Hotel --a 613 page tomb! (click the title not only to be linked to the book at coffee house, but also to read an interview with the author, Yamishita!)

from the Random House and Vintage massive stand, which was selling off all their displays, I got half-off copies of

The Ministry of Special Cases a novel by Nathan Englander,

Unaccustomed Earth stories by Jhumpa Lahiri,

James Baldwin's Go Tell It On The Mountain,

Haruki Murakami's Norwegian Wood

&

Summertime by J.M. Coetzee

I also picked up an exciting novel with fun visuals in the margins, linked to the character who is a map-maker: The Selected Works of T.S. Spivet by Reif Larsen--a book which was shortlisted for the Guardian's First Book Award.

I was also given a Japanese translation into French by the fabulous Japanese Literature Publishing Project (JLPP: http://www.jlpp.go.jp/): Ryûnosuke Akutagawa's Une Vague Inquiétude, by the publisher éditions du Rocher

Lastly, for the everlasting Buffy fan in me, I found Dark Horse comics, as well as their distributor, and between them and Amal's astounding bargaining I ended up with Buffy, Season 8 by Joss Whedon (a comic book series) in its entirety for a great price!

So, how did this little book-purchasing adventure come to be?

Amal--the owner of The Book Corner, Mulhouse's finest English bookshop (http://www.the-book-corner.fr/) which also carries a wide selection of French reads, asked me whether I wanted to go to Frankfurt with her for the festival. We both agreed to get up at an unholy hour on a Sunday to head off around 6am for Frankfurt--approximately a 3 hour drive from here. Before heading out of town in her green car, we stopped off at an open bakery and got rasberry and also cinamon croissants. Then we turned out of town into a dark and misty morning, half-awake and dreaming of the startrek-era teleportation machines we so wish existed! In fact, no, the road trip was half the fun--and half the day, too!!!! We had an excellent time with chattering along nonstop (mostly me, trying to keep me, or both of us, awake!) One of the things en route that I thought funny were the truck stop treats. Yes, if you are feeling a hankering for hotdogs, the pit stops can offer you both pickeled in a jar versions or else the XXL roll option--which is what we Americans call pigs in a blanket!

Once we arrived, we were shuttled over into a dauntingly large open glassed space where we consulted our maps of the many interlinked buildings and floors of buildings (see photo of Amel at the left with her map). We started off where all the American publishers were, which meant that I bought tons of books then came to a point just after lunch where I thought "I can go no further": and confided my treasures to a cloak-room while I perused the rest of the fair as a spectator--not buying anything new, at times because I could not read the many languages the books were written in, at times because the gorgeous antiques books were WAY outta my price range. But the most fabulous thing was to be accidently stumbled across in the antique book tent: The 19th Century Rare Book Shop, from MD. There, in their glass cabinet, sat a gorgeous first edition of Ulysses, with its green cover and its nubby never to be cut open pages, on sale for around 17000e. And on the shelf above this first edition by James Joyce sat another stunning first edition--Edgar Allen Poe's The Raven, in a mini hardbound edition--simply precious!!!!

In fact, as we moved deeper into the heart of the festival, which is in buildings surrounding a sort of square where people sat in lines along a fountain taking in a little fresh air or listening to readings or having a snack, the population seemed to be growing. By mid-afternoon we had reached the German only section, where masses still milled up and down the festival hall allées, buying or consulting books, publishers, e-tools, or meeting with potential agents for their books. Some people--like me--looked ready to crash, others actually napped in corners on couches, and a "militia massage" group was giving out free chair massages (the line was, alas, too long for that). Exhausted and worded out, Amal and I decided it was time to go hit the road of return to France. I collected up my books and we hit the buses then the road, with only one tiny loop-de-loop to get correctly onto the autoroute towards Mulhouse. By 10pm, we were back from our day out, and ready to drop into bed--with a good book!

Radical Poets who Publish questionnaire: please send your answers!

For my article “Visible Invisibilities : Radical Poets who Publish” for the October conference Poètes et éditeurs : comment diffuser la poésie d'avant-garde ? (1945-2010) in Le Mans, France, I seeking any responses by “avant-garde/experiemental poets” and poet-publishers to a few questions about your writing, publishing and distribution issues and perceptions regarding the distribution and availability of avant-garde poetry (your own and that of others) since 1945. I appreciate any time you may give to me for this short form interview. If you do not have time for all of the questions, feel free to just answer a few!!! THANK YOU! Jennifer K Dick Please send your responses to fragment78 at gmail.com or fragment3 at yahoo.com with “questionnaire response” in the subject heading! If you would prefer to receive this in a word doc, email me for the survey and I will send one by WORD to you! (Vous pouvez répondre à ces questionnaires en anglais ou en français!)

POETS QUESTIONNAIRE
(This set of questions is for non-publishers, if you are both a poet and a small press book publisher see questionnaire 2 below. Thanks!):

Your name : _____________________________
Author of approx. how many book-length works (48+ pages): ________
How many of these books are with small presses? __________________
How many are with major presses, or have been republished with large presses? _________
Are you also the author of artbooks or any collaborative books? ____Yes ____No
Year your first book was published, and name of the press? _________________________
_________________________________________________________________________
Is your first book still in print? _________ If so, is that a reprint with another press? _______
Which? ____________________________________________________________________
Have any of your books been translated? ____ Yes ____ No. If Yes, into what languages? _______________________________________________
Have any of your books been awarded major prizes? Which prize(s)?__________________
_________________________________________________________________________

1) If you have the option to have your next book come out with a small press, a major/ mainstream press, an electronic book only press or an art format press, which would you choose and why?

2) What has been the greatest obstacle to the diffusion of the works you have written? (ie: Money? Readership? Marketing? Publicity? Not being taught at University? General disinterest by your press in getting the works into the world? etc )

3) Do you try and promote your books, or are those books primarily distributed among a close circle of friends or by the press? Why/How?

4) Do you feel that the avant-garde is being further marginalized by limited access to mainstream, recognized works, (those found in Borders/Amazon/Barnes & Noble, for example), or are spd and online formats opening visibilities for more non-mainstream authors?

5) The majority of “avant-garde”, experimental/postmodern works are published at small presses. Does this decrease their recognition in national and international prizes? How does this have an effect on you as an author? Can something be done to rectify this, and if so, what might that be?

6) Are you or have you ever been part of a collective? A movement?
If so, which? (and, if pertinent, when?)
If so: Did or does this help you and your work get greater readership, diffusion, distribution? What were the greatest benefits of being part of this collective/movement?

7) Today publishers and authors continue to talk about their fears regarding the “end of the book”, and thus the complete monopolization of electronic formats for books, publishers, etc. Do you have an eBook in print, and if so, what do you perceive as the benefits for your readers and for you of this format? Are there any disadvantages you would note?

8) When we talk about diffusion, publication, etc, we are also often talking about readership. Could you comment on some of the questions or topics here regarding your own reading habits, purchasing of books, the availability of avant-garde works from the past as well as the present: (For example, do you feel that you as a reader read widely? Do you read exclusively contemporary “avant-garde” or more non-traditional works? Do you buy books or do your prefer to read online?

9) Do you financially donate to any small presses or magazines, and if so, what motivates you to select one press over another (the authors it publishes, that it is run by a friend, that is it local, that it distributes well or needs funds for greater visibility…? etc)

10) From your viewpoint, have small press publishing practices created not only domestic webs of contacts in the USA, thus co-publishing opportunities and readership, but even international ones? How has this been experienced by you, (if you have experienced this)?

* + * + * +

POETS WHO ARE ALSO BOOK PUBLISHERS QUESTIONNAIRE:

Your name : _____________________________
Author of approx. how many book-length works (48+ pages): ________
Are you also the author of artbooks or any collaborative books? ____Yes ____No
Year your first book was published, and name of the press? _________________________
_________________________________________________________________________

Is your first book still in print? _________ If so, is that a reprint with another press? _______
Which? ____________________________________________________________________

What press(es) do you run (or ran—if now defunct presses, please include start and end dates):
___________________________________________________________________________
Websites/blogs for your press(es):_________________________________________________

On average, how many full length books of poetry/hybrid work does your press publish per year?
____________ What is your general print run per book? ___________________
What is the average price of a book you publish (or price range of books): ______________

Does your book press have a print magazine as well? ____Yes ____No
An online magazine? ____Yes ____No
A chapbook series or artbook series? ____Yes ____No
Does your press publish translations? If so, what percentage of the book run is translation?

1) What motivated you to decide to create your press, or join your press collective?

2) What is the greatest obstacle to the diffusion of the works you publish that you feel your press faces? (ie: Money? Readership? Marketing? Publicity? Not being taught at University?)

3) Do you try and promote the books you publish, or are those books primarily distributed among a close circle of friends or by the authors themselves?

4) Do you feel that the avant-garde is being further marginalized by limited access to mainstream, recognized works, (those found in Borders/Amazon/Barnes & Noble, for example), or are spd and online formats opening visibilities for more non-mainstream authors ?

5) The majority of “avant-garde”, experimental, postmodern works are still published at small presses. Does this decrease their recognition in national and international prizes? How does this have an effect on you as both author and publisher? Can something be done to rectify this, and if so, what?

6) Are you or have you ever been part of a collective? A movement?
If so, which? (and, if pertinent, when?)
If so: Did or does this help you and your work get greater readership, diffusion, distribution? What were the greatest benefits of being part of this collective/movement?

7) Today publishers and authors continue to talk about their fears regarding the “end of the book”, and thus the complete monopolization of electronic formats for books, publishers, etc. Are you an eBook publisher, and if so, what do you perceive as the benefits for your readers and authors of this format? Are there any disadvantages you would note?

8) As an author: Are any of your books in eBook format? If so, what are the benefits and the disadvantages of this format as you have experienced it?

9) When we talk about diffusion, publication, etc, we are also often talking about readership. Could you comment on some of the questions or topics here regarding your own reading habits, purchasing of books, the availability of avant-garde works from the past as well as the present: (For example, do you feel that you as a reader read widely? Do you read exclusively contemporary “avant-garde” or more non-traditional works? Do you buy books or do your prefer to read online? Do you financially donate to any small presses or magazines, and if so, what motivates you to select one press over another (the authors it publishes, that it is run by a friend, that is it local, etc)

10) From your viewpoint, have small press publishing practices created not only domestic webs of contacts in the USA, thus co-publishing opportunities and readership, but even international ones?

Thanks Ron...

I must say, being cut off from all things internet and phone here in the land of Alsace is hard. But when I got online today in this little hole-in-the-wall web booth space I was delighted to have received a few messages regarding Ron Silliman's blog posting on Sept 11th of the interview I did with Cole Swensen a few years back about her work. If you have not had the pleasure of all the other fab postings at Silliman's blog of late--Olson reading, etc--go now! And if you have not seen the cole & I vid from The Continental Review (an online poetics video review), it is here too: http://ronsilliman.blogspot.com

Mulhouse... yes, going there

It is the final few days and of course I am on the computer instead of out running the million errands left or seeing a museum in a fit of "oh my goodness, I won't be able to come here for awhile"! I realized at the gorgeous William Kentridge show ("cinq thèmes) now on at the Jeu de Paume (yes GO see it) yesterday that I have hardly the energy to concentrate on such things, as I do feel already propelled "southeasterly" as George Vance said in his rewords poem yesterday. So where am I heading? What is Mulhouse? This blog will certainly be looking at that and exploring the newness of Alsace this fall. But, like me who has had a few nibbles of the town to come, here are a few pictures of the Alsacian town of Mulhouse to wet your appetite--and lure you there? Opportunities to read abound, so come visit!

The Mulhouse train station: Port of entry!!!: This is right by the canal. Mulhouse in fact has a lot of waterways running through it, and is also known for its clear, clean, springwater--so no buying of bottled water here!!!

The greeny slopes the are the end of France and the beginning of Switzerland to one side and to Germany on another. This is about 5 minutes out of town, and thus about 10 minutes in a car from where I will be living in the center of town! The start of the Black Forest is here (pictured at the left of this first photo)!

Oh, and note the buildings on the far side of these later 2 photos below? Yes: Basel, Switzerland! (Bâle)

Yep, a Cathedral. Every French city has one, and I look forward to visiting! This is also just round the corner from me! It sits on a wide pedestrian square, with some of the other well-known colorful buildings bordering it (like this pink one), as well as some cafés and bookstore, too.:

Les Vosges, near Mulhouse. This is a photo taken from the train as we head past Colmar and to Strasbourg. I always feel like I am going South on that train, but in fact it is heading North! You can see some of the Alsatian vinyard--in a blur--as we rush past here. And villages tucked into valleys at the base of some of les vosges!

The colorful buildings in the touristy center of the city certainly will be a bright beacon on those cold winter days! This is just around the corner from my new home: which is itself a large, reddish building from the 1800s!

Yes, cafés. They have them everywhere in this country, I am pleased to see. And I am excited to get to lounge on some terrasses this fall and write letters and journal, and poems and stories. I will write anyone that writes to me a postcard a letter! So email me for my new address and then send on a card (to make me less lonely and to decorate my new home even?) and I will send a letter back with some image of Mulhousain life! Promis!

This said, one of the main differences between Mulhouse and Paris will be my ability to actually walk down a street. Isn't this kind of appealing? So few pedestrians--noontime on a springy day in Mulhouse! :

Farewell Paris - Bonjour Mulhouse Soirée de rentrée-départ

PARIS : Coming or Going? : SOIREE de RENTREE/DEPART
Hey friends! -- Whether you are coming back, or heading off (as I am) I hope that you can stop by for a drink with friends to say Bonjour-Au Revoir! The 28th August, from 8pm at BUBAR

3 r de Tournelles, PARIS 4e
(version française:)

Paris: coming or going?

SOIREE de RENTREE/DEPART
le 28 août 2010
à partir de 20h !
au: BUBAR
3, Rue des Tournelles
75004 Paris
M° Bastille
http://www.cityvox.fr/bars-et-boites_paris/bubar_84018/ProfilLieu

Ekleksographia: The FRENCH issue is UP ONLINE

Back from London (photos en route, promised) to the fabulous news that the issue that has been awaiting its appearance since last winter has made it out of the static ether online in all of its loveliness. Kudos to Alex Dickow for his fabulous work both as guest editor and on the web layouts (and this lovely photo at the left which you can see again online at the magazine). I al personally thrilled to have poems, translations and a short critical review up there. Enjoy!http://ekleksographia.ahadadabooks.com/france/index.html

Official press release:

Friends, Strangers and Fellow Poets,
Ahadada Books' online journal

Ekleksographia

presents
Wave Three: The France Issue
in memory of Raymond Federman
& guest edited by Alexander Dickow

featuring original work and translations by the editor and by

Barbara Beck, Philippe Beck, Audrey van de Sandt, Alexis Tchoudnowsky, David Christoffel, Alessandro De Francesco, Noura Wedell, Jennifer K. Dick, Henri Droguet, Raymond Federman, Pierre Le Pillouër, Bruno Fern, Frédéric Forte, Michelle Noteboom, Albane Gellé, Liliane Giraudon, Mark Weiss, Amy Hollowell, Pierre Joris, Margaret Konkol, Nicholas Manning, Elisa McCool, Maria Rusanda Muresan, Jean-Claude Pinson, Leemore Malka, Jody Pou, Christian Prigent, Rufo Quintavalle, Joe Ross, James Sacré, David Ball, Alexandra Sashe, Eric Suchère, Carrie Noland, George Vance, Chet Wiener and Geneva Chao,

And featuring these reviews:
Adam Biles reviews Napoleon's Travelling Bookshelf by Sarah Hesketh

Nicholas Manning reviews Strata by Joe Ross

Jennifer K. Dick reviews Kardia by Claude Royet-Journoud

Margaret Konkol reviews WIW?3: Hold me tight. Make me happy by C. J. Martin

With Thanks to Daniel Sendecki and Robert Dickow for their technical assistance.

Thank you for reading, and for helping us spread the news!