Crg Hill's poetry scorecard

See You This Friday, In Person or in Spirit: Huth & Hill, Stain Bar Brooklyn, 11-16-07

Poets Crag Hill and Geof Huth will give a reading entitled "Sightings & Hearings" at the Stain Bar in Brooklyn, New York, on November 16th. Combining their interest in visual, sound, and even textual poetry, they will read and perform, together and apart, a wide range of works. This will be the first time Hill and Huth have performed together since their performance in March of this year, so don't miss this east coast appearance. If a reading isn't enough encouragement, Stain Bar has a great selection of New-York-only beer and other drinks.

Crag Hill and Geof Huth
Friday, 16 November 2007
6:30 pm
Stain Bar
766 Grand Street
Brooklyn, New York
718/387-7840

To get to Stain Bar, take the L train to Grand and go one block west to 766 Grand Street by the way of Graham Avenue and Humboldt Street.

Bios of the Performers:

Crag Hill has been exploring the world through the prisms of verbal and visual language since his re-birth in the 1970s. Writer of numerous chapbooks and/or other print interventions, including Dict (Xexoxial Endarchy), Another Switch (Norton Coker Press), and Yes James, Yes Joyce (Loose Gravel Press), he has also once edited two magazines, Score and its successor Spore. His latest book, co-edited with Bob Grumman, is Writing to be Seen, the first major anthology of visual poetry in 30 years. He writes frequently about poetry at his blog, Crg Hill's poetry scorecard .

Geof Huth is a writer of textual and visual poetry who has lived on most of the continents on earth. He writes frequently about visual poetry, especially on his weblog, dbqp: visualizing poetics. His chapbooks include "Analphabet," "The Dreams of the Fishwife," "ghostlight," "Peristyle," "To a Small Stream of Water (or Ditch)," and "wreadings." Huth edited &2: an/thology of Pwoermds, the first-ever anthology of one-word poems. His most recent books are a box of pages entitled water vapour and the chapbook, "Out of Character."

Driving above Palouse River on River Road, I rode into another time. Around a bend, I ran into the low-flying path of a blue heron. It flew high enough for us both to miss, then veered as I veered into time before human time. This bird, this flight, this river.

One of my earliest memories: Carol’s standing on the toilet seat. The bathroom’s pink. Dad’s dabbing at a wound in Carol’s hip with mercurochrome. I don’t remember if Dad’s enraged, or where the perpetrator was, yet I sense Curt cowering in the background, having stabbed his sister with a pencil.

Norman owned a Victorian in Noe Valley. He’d never let us in, panic in his eyes when we approached. One rumor had his house swarming with runaway boys. I assumed he hadn’t cleaned since 1969. After all, Norman didn’t do laundry. He bought new shirts, tossing the used ones away.

A pheasant squawk, robin’s trill–birds built a room without walls, limited only by my range of hearing. I loved to sit in that room, when I could, and sink, allowing daily language to subside, to slide away. Oh robins, common birds, uncommon builders–the pheasants screeched, the building shook.

Junior year, “Quadrophenia” was my lullaby. I’d put it on my $49 stereo, move the arm so it would play without end. I’d listen to one side, falling asleep during the second playing. More than once I woke, my father bursting into my basement room to turn my infinity off.

International Poetry Biennial/International Media Poetry Contest

For its tenth edition (May 2009), the International Poetry Biennial is pleased to announce an International Media Poetry Contest.

Works considered "media poetry" are those that place contemporary technologies at the service of poetry, be it within the framework of a performance or in that of a recorded and projectable work. Among the many forms accepted are included videopoetry, digital poetry, multimedia poetry, sound poetry, interactive poetry, and poetic installations in physical space or on the Internet. Works that illustrate a poem will not be considered (these are works that use sound or images to represent or complement a poem, for example). There are no restrictions regarding the form or content of the media poems submitted.

Work presented shall More...not exceed 15 minutes and can be presented in the form CD, DVD, or on the Internet.

Application: Candidates willing to submit their work to the International of Media Poetry Contest shall express their intention via email before December 31st, 2007.

To do so they shall write an email to: direction@biennaledespoetes.fr

The works submitted shall arrive at the Poetry Biennial's office (11 rue Ferdinand Roussel 94200 Ivry-sur-Seine France) before December 31st, 2008. If the work is online, the Internet address shall arrive via email on this date.

A jury made up of ten international artists will examine the works and will allot the Media Poetry Prize 2009. The prize will be given to the winner during a special ceremony to be realized during the Poetry Biennial.

The prize winner will choose between being invited to Paris for one week with all expenses paid during the Poetry Biennial or the equivalent amount in cash. Participation in the contest automatically authorizes the Biennial to publicly exhibit submitted works. Unless otherwise specified, the copyright of the works remains with the artists.

Unpainted picket fence, enclosure, exclusion, yet weathered so it seemed more a part of the landscape than apart from, a seam. It didn’t prevent a frisky squirrel from bouncing through, slipping over frosted leaves in the yard just after it chased its tail in the sun on the other side.

Intrigued by Laurie Jaeger’s reputation, which I too wanted a part of, I had no clue how to initiate such contact. My move? At a party, I was struck by a mini-bike. I played my best Hollywood, feigning injury, cuddling Laurie throughout the night, hoping she’d make the first move.