IATEFL 2013, Liverpool, UK, 8-12 April

Next week the city of Liverpool hosts the IATEFL conference. If you cannot attend, but are interested in language learning and teaching, click on the banner below to access the video feeds from the conference.

liverpool Online

Rattapallax 21

The latest issue of Rattapallax, Rattapallax21, has just been released as a free iPad app. It’s great! So, if you’ve got an iPad and are interested in poetics and new writing, in new modalities, check it out. (The link points to the US iTunes store, but the magazine should be available through iTunes everywhere, as I’ve just downloaded it here in Japan.)

Music tonight in New York

Wishing, at least today/tonight (2 April EDT), it could be April in New York for me. The Jim Rotondi Group with leader Jim Rotondi, Trumpet, Mike DiRubbo, Alto Sax, David Hazeltine, Piano, David Wong, Bass, and Joe Farnsworth, Drums is playing at Smalls. Over in Brooklyn, Eri Yamamoto’s trio played at Roulette – and that’s just scratching the beat surface.
If you’re not in New York, check out a subscription to Smalls Jazz Club’s streaming services.

Upgrading to Lion

Giddy at midnight, still giddy at first light: the upgrade to Lion, Mac OS 10.7, was a rib-tickling kick from start to finish, and put a feather in the cap of an already very happy day, at least for those with geeky tendencies, for had already updated BBEdit and Tinderbox. I had also read a few pre-release musings about how the download and install process would go, and my end-user experience was pure joy, especially once the install splash screen announced the completion of the download: the MGM Lion tamed. To Steve Jobs and his fellow designers/programmers, kudos and huzzahs! The Lion in cameo against a white background; could anyone have designed a more minimalist and elegant confirmation of Brenda Laurel’s Computers as Theatre? Yee-haw.

Maid as Muse Review at X-Poetics

Robin Tremblay-McGaw has a great little review of Aífe Murray’s Maid as Muse: How Servants Changed Emily Dickinson’s Life and Language (2010). The review includes a generous selection of extended quotes from Murray’s text, giving readers a good sense of the pleasures in Ms. Murray’s prose. Murray has made the working poor of nineteenth century Amherst visible, showing the ways in which their contributions to the Dickinson household economy not only enabled ED’s artistic independence but created the linguistic and social bases from which Ms. Dickinson’s poetic experiments grew. A must read, which gives a critical reading to the conventional notion of the artist as isolated genius:

That ‘social text,’ that fleshy real world was inhabited by maids, laundry workers, seamstresses, blacksmiths, tinsmiths, basket weavers, laborers, stablemen–all of whom Emily knew by name. The poet may have traded on stereotypes (what Folsom and Price call vortex words) that telegraphed charged images to her readers. What’s to be made of Emily’s relationships to the people behind these stereotypes? This was the social context of her art-making, the whole roster of people who make the work possible and ‘fuel the fantasy of independence. Ironically, it is this very support that allows the practice of art making to appear as the ultimate expression of individual freedom.

To learn more, see Aífe Murray and her work, see her Maid as Muse web site.

Murray, Aífe. Maid as Muse: How Servants Changed Emily Dickinson’s Life and Language. Durham: University of New Hampshire Press, 2010.

Making it, full time

On March 6, Bill Moyers’s Journal celebrated poetry. The elegy for the Dodge Poetry Festival, cancelled for 2010, was excerpted from Fooling With Words produced in 2000. The segment features readings shorter and longer, including Kurtis Lamkin, Sharon Olds, W.S. Merwin and Coleman Barks. Lamkin performs with the kora, while Barks’s concluding reading features a hauntingly beautiful piano, cello, percussion and oboe accompaniment. The Oregon Literature Review site hosts another online video of Kurtis Lamkin; Coleman Barks’s home page has a shop section, offering a number of titles in a variety of formats.

Simon Schama’s The American Future


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