Wednesday, October 31, 2012

Half Rabbit Half Ocean Press

It's a grey shoes for grey pants kind of day. I joined twitter @JuliaACohen

So, yeah, keep up if you can. For every person that follows me, I will add another item of clothing that makes me look like Annie Hall. For example, I could use a tie and a hat:

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My intro for Rebecca Farivar's reading this last weekend. She slayed:
Rebecca Farivar’s poems are filled with the immense: whales, mammoths, the whole sky. Yet they’re equally enmeshed in the diminutive, what might often be overlooked: the rough tongues of birds, the teabag plunk against porcelain, the gasp of a red thread. It seems like nothing escapes her gaze, to be snagged in her poems is to be attended to. Rebecca writes, “No matter where you go / you are a small thing /inside a large thing / filling yourself / with smaller things.” We’re always in relation and she splices us into momentary associations with objects, abstractions, landscapes. Rebecca catches us in these thorny matrixes because she cares. As she writes, “I need to be more friendly. I need to treat Estonians better.”
You can find her book here:
http://www.octopusbooks.net/index.php

Wednesday, October 24, 2012

Pinstriped Sweatpants Press

I'm incredibly excited to have a lyric essay up at Kenyon Review Online. You can also listen to the audio recording of the piece:
http://www.kenyonreview.org/kr-online-issue/2012-fall/selections/julia-cohen-656342/


Tuesday, October 23, 2012

Nostalgia vs. Algebra vs Zebras Press

I'm going to start a band called Nostalgebra.

The cover of the album will have to have an nostalgically algabraic zebra on it.

Clearly.

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Okay, please come to this reading on Saturday! It will be tight, with three readers. 7pm-8pm:

The next Bad Shadow THIS SATURDAY finds some amazing poets in our midst Cathy Wagner, Rebecca Farivar & Dan Hoy.

Cathy Wagner is the author of Nervous Device, new from City Lights, and several books from Fence. Her work has been anthologized in the Norton Anthology of Postmodern American Poetry, Out of Everywhere: Linguistically Innovative Poetry by Women in North America and the UK, Best American Erotic Poems and elsewhere. She teaches at Miami University in Ohio.

Dan Hoy is a poet, critic, and videographer living in the mountains and fires of Colorado. A recent transplant from Brooklyn, NY, his poetry collections include Omegachurch (Solar Luxuriance, 2010), Polaroid (Wrath of Dynasty, 2010), and Glory Hole (Mal-O-Mar, 2009, published with Jon Leon's The Hot Tub). He currently contributes to the collective blog Montevidayo, and his personal website is www.thepinupstakes.com.

Rebecca Farivar is the author of Correct Animal (Octopus, 2011) and chapbooks Am Rhein (Burnside Review, forthcoming 2013) and American Lit (Dancing Girl Press, 2011). She holds an MFA in poetry from St. Mary’s College of California and hosts the podcast Break The Line. She currently lives in Oakland, California.

When?: Saturday. Doors at 6:30pm, reading starts PROMPTLY at 7pm (new earlier time)
Where?: at Lost Lake Lounge | 3602 East Colfax | Denver, Colorado
How?: Magic. And some planning.
Why?: Community, words.

See you there,
Julia & Sommer

Right Hip Left Ear Press

I'm going to write this screenplay for

Circling the Bell:
In a world where a grown-ass man realizes he is a grown-ass man…
In a world where Richard Gere is actually Tibetan..
In a world where one woman brushes her teeth forever…
In a world where a compulsive flusher meets a toilet that won’t flush…
In a world where Weekend At Bernie’s II is the only movie that exists…
In a world where a perfect stranger raspberries your stomach during your younger sister's college graduation and you're "kinda into it"...
Starring: Christina Ricci, John Belushi, Lil' Wayne, Kathy Bates, and that kid from Little Man Tate…

Monday, October 22, 2012

We Make Spiders Press

Oh, thanks to CA Conrad and his amazing visit to Denver, here I am reading a poem for Jupiter 88:

Sunday, October 21, 2012

The Black Void of Awesomeness Press

Things I've been thinking about recently: We're growing tigers here & stuffing leaves into spiders. Black olives & wasps. Have you been spotted wearing a bow tie this weekend? Swedish fish as tongues. That reef knots & double fisherman's knots look sturdy but decrease the strength of the original rope by up to 52%. Pancakes. The black void of awesomeness. Invisible stains. Horse lips, & the sun kills my sweater.

Don't forget to come to Alexis Gideon's show with me on Monday.

Friday, October 19, 2012

Urban Poodle Splurge Machine Press

I'm going to dress like Annie Hall tonight. "Oh la de da."

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I'm sending out Denver Quarterly proofs by pony express today. Please feed the horse an apple when it reaches your doorstep. I'm excited to see issue 47.2 come together.

I'm listening to Crayon and The Body and drinking mint tea.

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I want to see Safety Not Guaranteed. Is that still in theaters?

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My younger cousin's facebook feed it popping up all the time now & I've recently learned that she has a pomegranate tree growing in her office (now producing fruit!) & she wants to eat some cheesecake. Glad I'm staying on top of family business.

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Horse lips scare me. They're so flappy & extensive. Horse lips are nightmares.

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I think I need to put the phrase "handshake rabies" in a poem. What do you think?

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Hi Denver Friends,

One of my close college friends, Alexis Gideon, is a musician and film maker and is performing this Monday (10/22) in Denver (music and stop-animation).

I hope you can come with me. I've seen him perform in Denver before and it's quite amazing, I promise. Info and links below:

http://vimeo.com/37538025
http://vimeo.com/47883417
If you're NOT in Denver, check out his tour schedule:
www.alexisgideon.com


Info about the 10/22 Denver performance:

Emmanuel Gallery
Lawrence Street Mall
1201 10th Street, Denver, CO 80204
On the Auraria Campus of University of Colorado Denver
Live Performance & Reception; October 22
Reception 5pm - Live Performance 6pm
Artist Q&A- 7pm

"Beautiful and strange"
-The New York Post

The latest in Gideon's Video Musics series, Video Musics III: Floating Oceans was made in collaboration with Cynthia Star (ParaNorman, Coraline), Jacob Rubin (Best New American Voices), Melody Owen, and Jamin London Tinsel among others. The piece was filmed in the south of France, New York City and Portland, OR, and uses stop-motion and line drawing animation, and incorporates Super8 film with digital HD technology. All dialogue in the video opera are expressed through lyrics and music performed live in front of the projected video.

"First class" -Wired



Wednesday, October 17, 2012

Your Heart, My Sleeve Press

I have three new poems up in DIODE. I love DIODE and am so pleased to be apart of the fall issue: http://www.diodepoetry.com/v5n3/content/cohen_j.html

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Tension between female Jewish comedian and old male rabbi:
http://www.huffingtonpost.com/2012/10/15/rabbi-letter-sarah-silverman_n_1968287.html?utm_hp_ref=mostpopular&fb_source=message



Sarah Silverman wins.

Monday, October 15, 2012

Looper Press

My review of Looper:
Looper would have been a much better movie if Bruce Willis tried to act like Joseph Gordon Levitt instead of Joseph Gordon Levitt trying to act like Bruce Willis.

Friday, October 12, 2012

The Fable of the Rocketship & the Seahorse Press

If you've decided never to leave Denver (i.e. not to romp along with me to the Sam Amidon /Beth Orten show tonight), you can go to the opening at the MCA. One of the few nights in CO I wish I was in two places at once:

October 12, 2012–February 3, 2013

Postscript: Writing After Conceptual Art features the work of over fifty artists and writers exploring the artistic possibilities of language. Presenting works from the 1960s to the present, the exhibition includes paintings, sculpture, installation, video and works on paper that raise questions about how we read, look at, hear, and process language today. A major current underlying the exhibition argues that the field of literature known as “conceptual writing” can be seen as engaging in a provocative dialogue with the field of contemporary art, producing new insights into the meaning of both literature and art. Co-curated by Nora Burnett Abrams and Andrea Andersson, Postscript is the first exhibition to examine the work of conceptual writing, investigating the roots of the movement in the art of the 1960s and 70s and presenting contemporary examples of text-based art practices.

Artists and writers featured in the exhibition include: Mark Amerika & Chad Mossholder, Carl Andre, Fiona Banner, Erica Baum, Derek Beaulieu, Caroline Bergvall, Jen Bervin, Jimbo Blachly & Lytle Shaw, Christian Bök, Marcel Broodthaers, Pavel Buchler, Luis Camnitzer, Ricardo Cuevas, Tim Davis & Robert Fitterman, Monica de la Torre, Craig Dworkin, Tim Etchells, Ryan Gander, Michelle Gay, Kenneth Goldsmith, Dan Graham, Alexandra Grant, James Hoff, Seth Kim-Cohen, Sol LeWitt, Glenn Ligon, Tan Lin, Gareth Long, Michael Maranda, Helen Mirra, Jonathan Monk, Simon Morris, João Onofre, Michalis Pichler, Paolo Piscitelli, Vanessa Place, Kristina Lee Podesva, Seth Price, Kay Rosen, Joe Scanlan, Dexter Sinister, Frances Stark, Joel Swanson, Nick Thurston, Triple Canopy, Andy Warhol, Darren Wershler, and Eric Zboya.


Let me know how it is.

I love Vanessa Place. And Tan Lin!

But based on the invited writers, it's clear that the two curators for this exhibit have some what of a limited view of what conceptual writing can be. I love when visual and written art co-mingle, I just wish the definitions of "conceptual writing" was called into question as part of the investigation. Maybe I will try and get to both events, somehow!!

Thursday, October 11, 2012

Unironic Beauty Press

Can we talk for a moment about how amazing David Lynch's hair is?

Okay, you're right. We don't need to talk. We can just silently admire.

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My old friend Sam Amidon is performing with Beth Orton at the Fox Theater in Boulder this Friday. I am hoping to actually get there. Let's do it. Let's get there.



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If you're in NY, this is happening Friday night:
at 7 p.m. for readings by:
Julian Talamantez Brolaski
Aubrie Marrin
and
Rob MacDonald
Also, featuring special poetry cocktails!
Bios and pics here: http://multifariousarray.blogspot.com/2012/10/1012-aubrie-marrin-julian-talamantez.html

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Tuesday, October 9, 2012

Harmonics like a Deconstructed River Press

Ann Lauterbach writes: “To say sky in the face of sky / Is a failure of duration”

But Lily Brown reminds me that Mallarme offers:
"Revolt or flight is useless and absurd;
For I am haunted. The Sky! The Sky! The Sky!"


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Things I can see while sitting on my bed:
a watering can
a birthday cake photograph lighting up all the chins in the frame
an empty purse & an empty hanger on the doorknob
3 electrical sockets
a wolf slowdancing with a girl
Gertrude Stein

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I forgot to give you the best text message roundup that I received in September. Here we go, from the second half of my birthday month:

1) “Watchin’ Dawnson’s Creek, foldin’ laundry.”
2) “JULIA JULIA JULIA in my dream we were flying with a murder of crows and then you bit one of those motherf*ckers on the beak for trying to out-fly you.”
3) “I have no umbrella. When it rains, I’m wet.”

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I’ve been listening to Oh No, the XX, Baths (yes, still), and Mayer Hawthorne today.

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This is happening tonight in Denver!!:
Laird Hunt will be reading from his new novel, Kind One, at Tattered Cover on Colfax, Tuesday, October 9, at 7:30 p.m.
2526 East Colfax Avenue, Denver

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We can always see Gertrude Stein.

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I miss seaweed. A landlocked heart. The mountains are an exit, a pile of vitamins, what books are afraid of. Your forest inclined to fur is duration. Paradise Cleaners & a barbershop. Or a fox that runs behind my bicycle like a friendly tail. To stay as long as— if the mountains will have me. Moody headphones & leaf-gleaning. Crystalline hibernation. A forest inside the cathedral like a desk drawer left open. What’s your longest feeling?

Monday, October 8, 2012

Blue Steeple Press

Last evening the lovely poet/person Elisa Gabbert went shopping with me for some essentials for the impending dark days & chilling weather: a winter blanket, pj bottoms, soup, winter boots, and an ironing board. (And some dog bones to keep D’Count busy.)

Oh winter, I am ready for you: your long white arms, your fogged windows, your heavy shoes, your icy eyelids, your slow pulse, your melting crystals, your bite your bite your bite.

Then I watched three episodes of Louie CK (3rd season); ate soup & toast.

Then I started reading Alphonso Lingis’ Trust. This is the first book I’ve read in a while that wasn’t assigned to a class I’m assisting or a book I was reviewing or for an academic paper I was writing. Feels good. Here are a few sentences from the preface:

“Courage and trust have this in common: they are not attitudes with regard to images and representations. Courage is a force that can arise and hold steadfast as one’s projections, expectations, and hope dissipates. Courage rises up and takes hold and builds on itself. Trust is a force that can arise hold onto someone whose motivations are as unknown as those of death. It takes courage to trust someone you do not know. There is an exhilaration in trusting that builds on itself. One really cannot separate in this exhilaration the force of trust and the force of courage.”

Do you agree or disagree? I think I would like to agree.

Then then then.

Then I’ll also show you this Lorine Niedecker couplet:

Don’t tell me property is sacred!
Things that move, yes!—

Sigh, isn’t that lovely? Alright, the day moves on with me in it & I must.


Sunday, October 7, 2012

What You Feel Is Space & What You Fell Will Float Away Press

You know it's a good Sunday morning when you can tell someone, "I think some of the inside of your face got on the outside of your face."

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I just finished a panel presentation paper for the Rocky Mountain MLA conference entitled, "Lorine Niedecker, James Schuyler, & the Uncontainable Object." Honestly, I feel relieved, this paper has been consuming my weekends since the beginning of September. I feel good that I worked my way through some of Niedecker's difficult poems, poems that I love to read but up to now have had trouble talking about conceptually. And it was fun connecting her work to Schuyler's.


Or in other words, "Lorine and James, I love you, but back the eff up. I need some space. Get your junk outa my face."

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Okay, more intros, this one from the Bad Shadow Affair reading last month in Denver:

Dot Devota:
I’m going to tell you how I feel about Dot Devota’s poems. You are invited & not invited. You are digging to bury & to unearth. You’re here, & here is a lemon blanket, the shortest straw, the grossest animal. Now you’re over there, which is a liquid feeling or a plant growing on all fours. You’re not standing or sitting or gliding; you’re immersed. You are ransacked & you are receiving gifts. Dot Devota writes, “And what must break thoroughly is fever into intelligence.” I read this two ways, that fever turns into a kind of intelligence and that intelligence needs a new kind of fever to survive. I feel that. I feel like these poems speed past me, but do so to bivouac a safe passage. And by safe I mean tangled & guttural. In these poems, emotions are sonic, abstractions order pizza, and associations glint with momentum. The poetics of immersion. Please welcome the fever, Dot Devota.
LINK IT UP, YO: http://www.actionyes.org/issue12/devota/devota1.html

Friday, October 5, 2012

Does No One In Denver Own An Ironing Board Press?

Hello snow. The trees are melting. I live in a series of half circles.

Lamp Post Spine Press

Hey you guys.

Nice matching watches.

Where'd you get those po' boys?

Nevermind.

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Disclosure #204: When I can spell "fjord" or "japing" in Scrabble I actually get excited.

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I think I valiantly fought off a cold this week. And by "valiantly" I mean "yuppie-ish-ly" by drinking tons of Odwalla Super Food & slinging vitamins.

Although I think I forgot to eat dinner last night.

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Been watching some lady standup:

Jen Kirkman:


Morgan Murphy:


Why can't I find any Melissa Paull stand up on youtube? So when I say "Why can't I..." I mean "please compensate for my ineptitude and do it for me, please. Like, don't ever talk to me again until you've completed this one task I ask of you."

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Tuesday, October 2, 2012

An Orchestra of Water Fountains Press

I'm going to CA Conrad's hotel tonight with Sommer & Noah & Katie Jean to record ourselves for Jupiter88. Thanks CA for inviting us over. I wish you lived here permanently in a house. Or I could build you a fort in my living room.

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I'm tutoring at J&W during the Prezzy debate time tomorrow. Ah, what do I do?

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A new issue of The Volta is up today. It is October.

Friday Feature: Angela Hume review's Hillary Gravendyk's Harm

Evening Will Come: new essays by Elaine Bleakney, CM Burroughs, & Kristin Prevallet

The Conversant: Thomas Fink, Forrest Gander & John Kinsella, Michael Hardt, Jericho Brown, Johannes Goransson, Stephanie Strickland, Andrew Levy, Wayne Koestenbaum, Frances Richard, Hillary Gravendyk, Amanda Nadbelberg & Brandon Shimoda

Medium: new video by Sara Mumolo

Heir Apparent: Dot Devota's MW

They Will Sew the Blue Sail: new poems by Tomaz Salamun, Rebecca Farivar, & Mia Ayumi Malhotra

Tremolo: interview with Sarah Gridley

Arroyo Chico: Eric Magrane in my back yard

The Pleistocene: Noah Saterstrom in conversation

Take Down the Clouds: Youna Kwak Q&A

The Volta: http://www.thevolta.org/


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If you live in NY:
Thursday, October 4, 7:00pm
Poets House, 10 River Terrace, New York, NY 10282
Aaron Shurin on the Craft of Poetry

San Francisco poet Aaron Shurin considers the question “What is prosody?” in light of the current movement away from meter and traditional forms. Shurin looks at what new elements are at work in contemporary poetry, such as collage and sonic play, referencing both classical and current models, from Homer and Shakespeare to Denise Levertov, Robert Creeley, Michael Palmer and Lisa Jarnot. Shurin explores some of the ways in which poetic craft continues to make meaning in contemporary poetry.
$10, $7 for students and seniors, free to Poets House Members

Monday, October 1, 2012

Pop The Balloon With Your Beak Press

Denver Quarterly has entered the 21st Century and now has a FB page. Go "like" it so you can keep up with all the drama. And by "drama" I mean extraordinary poetry/fiction/interviews/reviews.

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For the Pastoral class I'm TAing I've been reading the assigned Philip K. Dick Do Androids Dream of Electric Sheep?. This is the first scifi book I've ever read. I thought I could go my whole life without reading one. But I'll be honest, I'm enjoying it. See you at the next Comicon...

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I re-watched "The Cabin in the Woods" last night and liked it less than the first time. But I'd still recommend it. That's all I got.

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I think I want to go to the Clifford Still museum this weekend. Or is that an offensive thing to say considering the aspen are flipping to yellow and we should probably all be admiring them up-close-and-personal?

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Remember when one of your parents would sweep the leaves into a pile and you'd bury yourself in it and pretend to vanish and then burst out like some crazy caterpillar and "surprise" that parent? Remember that?

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Discussed Williams' Spring & All today. Here are some rambles or brambles:

The first time I read it, the prose sections seemed almost OCD, as though Williams could not resist obsessively returning to the same subject. The more I read it, the more I come to understand it in terms of how Gertrude Stein approaches language: “the idea of the recreation of the word.” And as William James asks of us, ““What after all is so natural as to assume that one object, called by one name, should be known by one affection of the mind?” I am drawn to the idea of how William’s persistence is a plurality of approach, which mirrors his plurality of affections and ideas of application for the imagination and the present.

Williams wants us to be in the present, to have the full experience of the moment. He explains all writing and art up to this point have “been especially designed to keep up the barrier between sense and the vaporous fringe which distracts the attention from its agonized approaches to the moment” (3). He asserts that it’s our imagination that can bring us closer to the present moment, “To refine, to clarify, to intensify that single force—the imagination” (3). So, imagination can eliminate distraction, can dissolve the veil between the present and our experience of it.

Williams circles around ideas of annihilation and plagiarism because he wants to bring our attention to tired rhetoric, the old ways of viewing the world. He uses the example if trite symbolism, he writes, “What I put down of value will have this value: an escape from crude symbolism, the annihilation of strained associations, complicated ritualistic forms of design to separate the work from reality” (22). He isn’t interest in a real annihilation so much as an artistic regeneration, creating an environment from which we can see the world anew, not with established constructs, traditions, and institutions. He pushes us away from directly representational art, too, the kind that mimics reality without creating its own reality. He explains that there is a “falseness in attempting to copy nature.” Williams also writes, “meanings have been lost through laziness or changes in the form of existence which have let words empty” (20). Multiple times, he says that “only the imagination is undeceived” and this relates directly back to the false, stilted lens we view the world when using language that no longer fits the contemporary moment.

I think that Williams believes we cannot fully experience the moment without empathy, which becomes jaded or dusty with tired rhetoric because it forms a distancing veil between people and experience. It is only with the imagination that this empathy can be tuned, and he writes, “Only through the agency of this force can a man feel himself moved largely with sympathetic pulses at work” (27). He wants to revivify how we see the world but also how we relate to each other. Through the relationship between the imagination and the present, we can open ourselves to emotive sympathies that are not insular, but inherently turn us toward the other.