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<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'> </span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'> </span></font></p>
<blockquote style='margin-top:5.0pt;margin-bottom:5.0pt'>
<p class=MsoNormal><u><font size=4 face=Times><span style='font-size:13.5pt;
font-family:Times'>RUSKIN ART CLUB'S WORKSHOPS<br>
<br>
</span></font></u><i><font face=Times><span style='font-family:Times;
font-style:italic'>The best intensive workshops available!<br>
</span></font></i><font size=2 face=Times><span style='font-size:10.0pt;
font-family:Times'>For more details: Elena Karina Byrne Literary Programs
Director<br>
<u>Ekduende@aol.com</u> /310-669-2369<br>
ALL DAY WORKSHOPSÂ </span></font><b><font face=Times><span style='font-family:
Times;font-weight:bold'>* Special Poets Appearances from out of town!<br>
<br>
</span></font></b><u><font size=2><span style='font-size:10.0pt'>Saturday,
March 10 9;30-4</span></font></u><font size=2><span style='font-size:10.0pt'><br>
Lyric Inspiration in Contemporary Poetry: Cinematic Fragmentation and Erasure<br>
with David St John<br>
$85<br>
<u>Saturday, March 24 </u></span></font><u><font size=2><span style='font-size:
10.0pt'>9:30</span></font></u><u><font size=2><span style='font-size:10.0pt'>-4<br>
</span></font></u><font size=2><span style='font-size:10.0pt'>Eight Ball in the
Left Pocket: The Aesthetic Statement<br>
Teresa Carmody & </span></font><font size=2><span style='font-size:10.0pt'>Vanessa
Place</span></font><font size=2><span style='font-size:10.0pt'> (Les Figues
Press)<br>
$75<br>
</span></font><b><u><span style='font-weight:bold'>*</span></u></b><u><font
size=2><span style='font-size:10.0pt'> Saturday,March 31 </span></font></u><u><font size=2><span style='font-size:10.0pt'>9:30</span></font></u><u><font size=2><span
style='font-size:10.0pt'>-4<br>
</span></font></u><font size=2><span style='font-size:10.0pt'>POP! and Poetry:
Pop Culture, Music and Poetry<br>
with Joshua Clover<br>
<br>
</span></font><b><u><span style='font-weight:bold'>*</span></u></b><u><font
size=2><span style='font-size:10.0pt'>Thursday, April 26 </span></font></u><u><font size=2><span style='font-size:10.0pt'>6-10pm</span></font></u><font size=2><span
style='font-size:10.0pt'> DINNER WORKSHOP<br>
with Poet, </span></font><font size=2><span style='font-size:10.0pt'>Tupelo</span></font><font
size=2><span style='font-size:10.0pt'> Press Publisher Jeffrey Levine<br>
Poetry, Prophecy, Revision, & The Publisher's Eye<br>
$75 Dinner Included<br>
<br>
</span></font><b><u><span style='font-weight:bold'>*</span></u></b><u><font
size=2><span style='font-size:10.0pt'> Saturday, May 19, </span></font></u><u><font size=2><span style='font-size:10.0pt'>9:30</span></font></u><u><font size=2><span
style='font-size:10.0pt'>-4<br>
</span></font></u><font size=2><span style='font-size:10.0pt'>Writing by Ear:
Poetry as a Foreign Language<br>
with Angie Estes and Kathy Fagan<br>
$75<br>
<u>Saturday, June 2: 9:30-4<br>
</u>Narrative and Dis-Narrative<br>
with David St John<br>
$85<br>
<br>
>>Pay to the Ruskin Art Club/ Non-refundable Deposits $35/ Pay in full 1
week prior<br>
Morning only audits $45 The Ruskin Art Club 800 S Plymouth Blvd LA CA
90005<<<br>
<b><span style='font-weight:bold'>Lunch and morning food</span></b> included
Checks made out to The Ruskin Art Club<br>
Mail checks to Elena K Byrne </span></font><font size=2><span
style='font-size:10.0pt'>PO Box 3761</span></font><font size=2><span
style='font-size:10.0pt'> </span></font><font size=2><span style='font-size:
10.0pt'>Palos Verdes Peninsula</span></font><font size=2><span
style='font-size:10.0pt'> </span></font><font size=2><span style='font-size:
10.0pt'>CA</span></font><font size=2><span style='font-size:10.0pt'> </span></font><font
size=2><span style='font-size:10.0pt'>90274</span></font><font size=2><span
style='font-size:10.0pt'><br>
<br>
<br>
</span></font><b><u><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial;font-weight:bold'>ALL DAY WORKSHOP WITH JOSHUA CLOVER<br>
POP! and Poetry: </span></font></u></b><b><u><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial;font-weight:bold'>Saturday, March
31, 2007</span></font></u></b><font size=2 face=Arial><span style='font-size:
10.0pt;font-family:Arial'><br>
<br>
<br>
"...but you, motion picture industry, it's you I love!<br>
In times of crisis we must all decide again and again whom we love.<br>
And give credit where it's due..."<br>
-- Frank O'Hara<br>
<br>
Pop culture often seems irreconcilable with poetry in its levels of authentic
passion and complexity, its marketplace dreams; at the same time, many of us
have a telenovela or radio song that we love shamelessly. In this workshop, via
reading, talk and writing, we'll consider how our poetry might forge a
relationship with such things, might let them into the poem in a way that loves
both poetry and pop as distinct and powerful ways that the world talks to
itself. Participants are encouraged to bring a copy of their favorite
contemporary song.<br>
<br>
<b><span style='font-weight:bold'>Joshua Clover's</span></b> first book of
poetry,<i><span style='font-style:italic'> Madonna anno domini</span></i>, won
the Walt Whitman Award from the </span></font><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Academy</span></font><font size=2
face=Arial><span style='font-size:10.0pt;font-family:Arial'> of </span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'>American
Poets</span></font><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>; his most recent,<i><span style='font-style:italic'> The
Totality for Kids</span></i>, has been featured in the Boston Review and
Entertainment Weekly. He is a longtime arts critic for the Village Voice, SPIN
magazine, and GQ; he currently contributes to The New York Times. His book on
The Matrix was published by British Film Institute.<br>
<br>
<br>
<br>
ALL DAY WORKSHOP WITH </span></font><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>VANESSA PLACE</span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> &
Teresa Carmody of Les Figues Press<br>
<br>
<b><u><span style='font-weight:bold'>8 BALL IN THE LEFT POCKET: THE AESTHETIC
STATEMENT</span></u></b><u><br>
<br>
"</u>Either move or be moved." E. Pound<br>
<br>
Any gallery exhibit is typically heralded by an artist’s
statement. This statement typically gives content and context for the art
within, inviting the audience to see whether the shot, as called, has been
made. Nowadays writers typically do not write artist’s
statements, tossing their work unframed to a largely uncaring world, hoping the
content speaks for itself. But larger minds from Coleridge to Stein,
O’Connor to Eliot, and Rilke to Gass, took the bolder track. A
writer’s aesthetic statement clarifies not just a particular
piece of poetry or prose but the impulses and drives of the writer’s
larger project. The Work of the Work. After surveying some great aesthetic
statements, we’ll spelunk the work of your work, finding what
themes, forms and questions move your writing, and how those may be pressed
firmer and farther by their direct articulation. Participants are encouraged to
bring a representative piece of their own writing and a reproduction of some
piece of visual art for which they feel an uncanny affinity.<br>
<br>
</span></font><b><span style='font-weight:bold'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Vanessa Place</span></font></span></b><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> is the
author of a 50,000-word, one-sentence novel, Dies: A Sentence (2005), and a
co-founder of Les Figues Press, publisher of the TrenchArt series of
experimental literature. Other work has appeared in Northwest Review,
Northridge Review, Film Comment, Contemporary Literary Criticism, </span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'>4th Street</span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'>: A Poetry
Bimonthly, LA Weekly Literary Supplement, Five Fingers Review, Greetings #10/11
and The nOulipian Analects. Her nonfiction book about sex-offenders and the
morality of guilt will be published by Other Press, and a chapbook, Figure from
The Gates of Paradise, is forthcoming from Woodland Editions/Five Fingers
Review.<br>
<b><span style='font-weight:bold'>Teresa Carmody</span></b> is the author of<i><span
style='font-style:italic'> Requiem</span></i>, a micro-collection of short
stories, which<i><span style='font-style:italic'> American Book Review</span></i>
calls “a celebratory lament†and poet Carol Muske Dukes
calls “a Midwest scriptural mist: frank, fierce and fidgety, and most
emphatically her own.† Other work has appeared in<i><span
style='font-style:italic'> PoetsWest</span></i>,<i><span style='font-style:
italic'> Stolen Purse</span></i>,<i><span style='font-style:italic'> Roar:
Women’s Studies Journal, For Here or To Go,</span></i> and<i><span
style='font-style:italic'> 4th Street.</span></i> She is cofounder and editor
of Les Figues Press, publisher of the TrenchArt series of experimental literature,
and co-curator of the Smell Last Sunday Reading series in downtown </span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'>Los
Angeles</span></font><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>.<br>
</span></font><u><font size=2 face=Verdana><span style='font-size:10.0pt;
font-family:Verdana'><br>
</span></font></u><u><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'><br>
</span></font></u><u><font size=2><span style='font-size:10.0pt'><br>
<br>
<br>
</span></font></u><u><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>DAVID ST JOHN____________________________________<br>
<b><span style='font-weight:bold'>LYRIC INSCRIPTION IN CONTEMPORARY AMERICAN
POETRY:<br>
CINEMA, FRAGMENTION AND ERASURE</span></b><br>
<br>
</span></font></u><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>Our traditional conceptions of poetic
“lyric†need to be reconsidered in<br>
an age which defines the business of poetry as multiplicity,<br>
polyvocality, and simultaneity. In the contemporary
“lyric†poem, how<br>
have the pressures of temporality, unity and the construction of<br>
identity been newly figured? How has cinema exerted such a profound<br>
influence (and what is that influence) in the work of many of the most<br>
essential contemporary American poets? Look at some of the work of (a<br>
few possibilities): John Ashbery, Jorie Graham, Frank O’Hara,
Brenda<br>
Hillman, Norman Dubie, Lynn Emanuel, Larry Levis, Frederick Seidel and<br>
anyone else you feel is appropriate and choose one poem to bring in (25<br>
copies) to discuss in the morning session. Rent and watch at least one<br>
film by one of these directors: Kieslowski (I suggest Blue or The Double<br>
Life of Veronique), Godard (Contempt), Antonioni (The Passenger),<br>
Mikhalkov, Bertolucci (The Conformist), or Tarkovsky. For the afternoon,<br>
choose one of your own poems (25 copies) that you feel is somehow<br>
related to the cinematic nature of poetry.<br>
<br>
<u><br>
Ok, for the June course:<br>
<br>
<b><span style='font-weight:bold'>NARRATIVE AND DIS-NARRATIVE, DRAMAMTIC
MONOLOGUE AND DRAMATIC LYRIC</span></b>. For<br>
</u>the morning session we will be looking at work by poets Norman Dubie<br>
(The Mercy Seat) and Lynn Emanuel (Then, Suddenly) and discussing the<br>
various ways to "enact" the self in poetry. For the afternoon
session,<br>
bring a new poem written in a voice that is not you "usual" voice for
a<br>
poem.<u><br>
<br>
<b><span style='font-weight:bold'>ALL DAY WORKSHOP WITH JEFFREY LEVINE<br>
PROPHESY, REVISION, AND THE PUBLISHER’S EYE</span></b><br>
<br>
 <br>
<br>
</u>What is it about a poem that appeals to a publisher’s ear?
Why do publishers listen to some poems and not others? What are the seven most
valuable secrets to making a poem, and an entire collection, transcendent? In
this workshop, via reading, talk and writing, you are invited behind the closed
doors to consider how publishers and editors of literary journals and literary
presses actually listen to poems. We’ll explore how to revise
toward poems – and books - that signify to publishers. Along thee way,
we’ll get behind the scenes of the publishing world, and explore
what that means for your own writing. Working with your own poems,
we’ll pay particular attention to entrances and exits, and the
nuances of style. Finally, we’ll explore which journals are most
likely to be appropriate for your own work. Participants are encouraged to
bring 20 copies of five poems that are representative of your work.<br>
<u><br>
</u>Jeffrey Levine’s first book of poetry, Mortal Everlasting,
won the Transcontinental Poetry Prize from Pavement Saw Press; his second,
Rumor of Cortez, was nominated for the 2006 LA Times book award in poetry. He
is Publisher and Editor-in-Chief of Tupelo Press, and independent literary
press.<br>
<u><br>
 <br>
<b><span style='font-weight:bold'>Writing by Ear: Poetry as a Foreign Language<br>
Workshop with Angie Estes and Kathy Fagan</span></b><br>
<br>
</u>Stanley Kunitz has written that “Even before it is ready to
change into language, a poem may begin to assert its varied life in the mind
with wordless surges of rhythm and counter rhythm.†In this workshop we
will discuss and explore strategies the poet can use to rein in these sonic and
imagistic surges and ride them into poetry. Specifically, we will practice the
art of translitic and ekphrastic poems as we develop ways to move beyond the
semantic components of language and enable the unconscious to emerge into
poetry. As Walter Benjamin has remarked in his discussion of translation,
language can exhibit either memory or amnesia; our goal in this workshop will
be to lessen the amnesia of language and gain access to
language’s deep memory.<br>
<br>
<b><span style='font-weight:bold'><br>
Kathy Fagan</span></b> is the author of the National Poetry Series selection
The<br>
Raft (Dutton, 1985), the Vassar Miller Prize winner MOVING & ST RAGE<br>
(Univ of North Texas, 1999), and The Charm (Zoo, 2002). Her work has<br>
appeared in The Paris Review, The Kenyon Review, Slate, Field,<br>
Ploughshares, and The Missouri Review, among other literary<br>
magazines, and is anthologized in Under 35 (Doubleday, 1989),<br>
Extraordinary Tide: New Poetry by American Women (</span></font><font size=2
face=Arial><span style='font-size:10.0pt;font-family:Arial'>Columbia</span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'>, 2001),<br>
American Diaspora (</span></font><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Iowa</span></font><font size=2
face=Arial><span style='font-size:10.0pt;font-family:Arial'>, 2001), The Breath
of Parted Lips: Poems from<br>
the </span></font><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>Robert Frost Place</span></font><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'> (CavanKerry, 2001), and, most
recently, Poet’s<br>
Choice (Harcourt, 2006), edited by Edward Hirsch. Fagan is the<br>
recipient of fellowships from the Ingram Merrill Foundation, the<br>
National Endowment for the Arts, and the </span></font><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Ohio</span></font><font size=2
face=Arial><span style='font-size:10.0pt;font-family:Arial'> Arts Council.
Formerly<br>
the Director of Creative Writing at The Ohio State University, she is<br>
currently Professor of English and Editor of The Journal.<br>
<br>
</span></font><font size=1><span style='font-size:7.5pt'><br>
</span></font><b><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial;font-weight:bold'>Angie Estes’</span></font></b><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> most recent
book,<i><span style='font-style:italic'> Chez Nous</span></i>, was published by
Oberlin College Press in spring of 2005.<i><span style='font-style:italic'>
Voice-Over</span></i> (Oberlin College Press, 2002), won the 2001<i><span
style='font-style:italic'> FIELD</span></i> Poetry Prize and was also awarded
the 2001 Alice Fay di Castagnola Prize from the Poetry Society of America. Her
first book,<i><span style='font-style:italic'> The Uses of Passion</span></i>
(1995), was the winner of the Peregrine Smith Poetry Prize. Recent poems have
appeared in<i><span style='font-style:italic'> TriQuarterly</span></i>,<i><span
style='font-style:italic'> The Paris Review</span></i>,<i><span
style='font-style:italic'> Ploughshares, FIELD</span></i>,<i><span
style='font-style:italic'> Boston Review, Shenandoah</span></i>,<i><span
style='font-style:italic'> Ninth Letter, Pleiades</span></i>,<i><span
style='font-style:italic'> Slate</span></i>,<i><span style='font-style:italic'>
Green Mountains Review,</span></i> and<i><span style='font-style:italic'>
Chelsea</span></i>, and in the anthologies<i><span style='font-style:italic'>
The Extraordinary Tide: New Poetry by American Women</span></i> (Columbia
University Press, 2001),<i><span style='font-style:italic'> The Geography of
Home: California and the Poetry of Place</span></i> (Heyday Press, 1999), and<i><span
style='font-style:italic'> Queer Dog</span></i> (Cleis Press, 1997). She has
received fellowships from the National Endowment for the Humanities, the
Woodrow Wilson Foundation, the California Arts Council, the MacDowell Colony,
and two Individual Artist Grants from the Ohio Arts Council. She also received
a 2005 Pushcart Prize. Estes received her Ph.D. and M.A. in English from the </span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'>University</span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> of </span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'>Oregon</span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> and was for
several years Professor of American Literature and Creative Writing at Cal
Poly, </span></font><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>San Luis Obispo</span></font><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>. She currently teaches at The Ohio
State University in </span></font><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Columbus</span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'>.</span></font></p>
</blockquote>
<p></x-sigsep><font size=2 face=Arial><span style='font-size:10.0pt;font-family:
Arial'><x-sigsep>Maurya Simon<br>
<br>
Professor <br>
Department of Creative Writing<br>
</span></font><font size=2 face=Arial><span style='font-size:10.0pt;font-family:
Arial'>University</span></font><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'> of </span></font><font size=2
face=Arial><span style='font-size:10.0pt;font-family:Arial'>California</span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> </span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'>Riverside</span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'><br>
</span></font><font size=2 face=Arial><span style='font-size:10.0pt;font-family:
Arial'>900 University Avenue</span></font><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'><br>
</span></font><font size=2 face=Arial><span style='font-size:10.0pt;font-family:
Arial'>Riverside</span></font><font size=2 face=Arial><span style='font-size:
10.0pt;font-family:Arial'>, </span></font><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>CA</span></font><font size=2
face=Arial><span style='font-size:10.0pt;font-family:Arial'> </span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'>92521-0318</span></font><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'><br>
<br>
TEL. (951) 827-2006 (office)<br>
<br>
FAX: (951) 827-3619 </span></font></p>
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