Jordan Davis may not be a grandson (or granddaughter) of Frank O'Hara, but I think Jordan's blood's running with the O'Hara of Meditations In An Emergency. See his latest, 1082: http://millionpoems.blogspot.com/
Mark Young's wit on As/Is has always delighted. He spreads that wit, all the way from New Zealand, through his blog: pelican dreaming. Here's a sample poem:
Pictures from Brueghel
would have loved
the Passaic Falls
red wheel barrow.
Geoff Huth has done more for the small/large poem than just about anyone I know of (Bob Grumman's running neck and neck with him). His pwoermds are becoming legendary (see "Evidence" on his blog for examples). What I've always been impressed with, as a poet of few (if any) words, a lightning sensitivity, Huth as critic has the ability to glare, to spotlight, to highlight with a thorough astute prose. No one right now is writing visual poetics like Huth.
For someone who obsessively wears squirrel-thong underwear, Tom Beckett writes exquisite searching, reaching, arching, aching poems of burning, churning (sorry, the squirrel made me rhyme) meditation:
were someone else
I know now.
I know now?
Visit his blog for more poems (and pranks). Man, am I ever looking forward to his new chapbook, due soon from Generator, Vanishing Points of Resemblance.
Bob Grumman not only has a blog, a worthwhile read in itself -- his open-hearted, personable readings of poems, poets, and poetries has been a delight for twenty years now -- he's posting absolutely stunning samples of mathemaku he's finished since February. Check out where two unlikely cast members -- mathematics and haiku (and maybe hay(na)ku) -- come together. He also has a link to "Doing Long Division on Poetry," a gorgeous series of poems using long division as a frame, an armature, through/from which to explore the nature/s of poetry. Bravo Bob!
(Question for the Bob: are the paintings, glyphs, drawings, collages in the poems your work, too? Done separately and then joined with the long division or created in the process of the division? Many of those works stand by themselves)
The project posted below reminded me of Lyx and Miekal's Madison front yard in the 1980s, one section crowded by an ever-evolving "Avant-Garde Museum of Temporary Art." (Correct me, Miekal, if I've got the title wrong.) Long a landmark on Willy Street, always turning heads, sparking smiles or smoldering scowls, this structure, part Egyptian catacombs (I could get lost in it at least), part Tower of Babel, "housed" collages, letters, poems, Hugo Ballesque sculptures, many a Malok glyph, the remnants of mailart shows, covers of chapbooks, paintings large and small, most totally exposed to the elements (some were shellacked to the walls and frames).
Lyx and Miekal made a statement with this project: art is everywhere, art is open, sans admission, sans esoteric training for practitioner or viewer. I remember more than once sitting out of sight somewhere in the structure, reading or scribling as was my wont, when a couple would stroll up and start talking about the display. From the intensity of their comments, positive and/or critical, I knew they were seeing something they wouldn't soon forget.
Hello, dear artist,
You are invited to participate in The Museum of Temporary Art, our ongoing
project. We are looking for small objects (size 3,5 x 3,5 x 7 cm) connected
to a story, which makes the objects valuable and special.