[Cwgrad-announcements] FW: The Cortland Review Issue 33 Published

[cwgrad-announcements at lists.ucr.edu]

FYI



>THE CORTLAND REVIEW NEWSLETTER
>Issue 33: August 2006
>http://www.cortlandreview.com/issue/33/index.html?ref=home
>
>Dear Readers:
>
>While yours truly has kept cool trekking across Alaska via plane, ship, 
>train, bus, sea plane, helicopter, dogsled, taxi, ice spiders, even a 
>bicycle rickshaw, the TCR team has outsmarted the summer's record-breaking 
>heat; they've been indoors working to produce Issue 33, which features the 
>celebrated and very cool poet, Tony Hoagland.
>
>His essay, "Fragment, Juxtaposition, And Completeness: Some Notes And 
>Preferences," addresses, for the first time in TCR pages, the poetry 
>aesthetic that, beginning with the "technical innovations" of Apollinaire, 
>has developed into modernism, often referred to as "the 'poetics of 
>surprise,' as 'open field' poetry, poetic montage, as 'indeterminate,' 
>as  'reader-centered.'"
>
>Hoagland offers a way to think about poetry of "less orchestration, more 
>participation," but he asks thought-provoking questions that will send you 
>to the kitchen for another long, cold drink as preparation for entering 
>the heated debate.
>
>Along with Hoagland's essay, we offer new poetry by Alexios Rigas Antypas, 
>Curtis Bauer, Laure-Anne Bosselaar (a recent guest-editor with her 
>poet-husband Kurt Brown), Chip Cassin, Scott Challener, Marcus Chinn, Kirk 
>Glaser, Scott Glassman, Julia Andreevna Istomina, George Kalamaras, David 
>Lauer Panzarino, Leslie Shinn, Christine Anne Stewart, and Michael 
>Wingfield, some offering evidence on one side of the issue, some offering 
>evidence on the other. Read their poems to see where you stand.
>
>For cover art, we've chosen the especially cool "Metaphor2" of artist 
>Karlyn Lewis, wife of Jim Lewis, TCR's Web Manager for five years and 
>Associate Managing Editor for one. Mother of five, with a natural feel for 
>color, style, and composition, Karlyn specializes in electronic 
>"found-art" graphics. Look for more of Karlyn's strikingly original and 
>energetic work at http://www.jimbabwe.com/khl/index.htm.
>
>And on the TCR news page, note that our welcome mat is out to cool-guy 
>Greg Nicholl, our newest staff member. He's a freelance proofreader and 
>graphic designer living in southeastern Idaho. His poetry has appeared in 
>such national journals as Natural Bridge, Feminist Studies, Runes, Fugue, 
>The Los Angeles Review, Rattapallax, and more. He recently moved from New 
>York where he worked in the production department at the Random House 
>Publishing Group.
>
>Greg received his M.F.A. in Poetry from Sarah Lawrence College. He is 
>currently the co-director of the Rocky Mountain Writers' Festival. 
>Welcome, Greg! The TCR family has everything to gain from your joining our 
>effort.
>
>Ginger Murchison
>Editor
>
>
>
>___________
>CONTENTS
>___________
>
>1. Spring 2006 Issue Released
>2. From "Fragment, Juxtaposition, and Completeness: Some Notes and 
>Preferences," by Tony Hoagland
>3. From "March Chimes," by Laure-Anne Bosselaar
>4. From "Vibrato," by Chip Cassin
>5. From "Burnt Toast," by Marcus Chinn
>6. From "September," by Julia Andreevna Istomina
>
>
>___________
>1. SUMMER 2006 ISSUE RELEASED
>___________
>
>The full issue:
>http://www.cortlandreview.com/issue/33/index.html?ref=home
>
>"Fragment, Juxtaposition, and Completeness: Some Notes and Preferences," 
>an essay by Tony Hoagland and new poetry by Alexios Rigas Antypas, Curtis 
>Bauer, Laure-Anne Bosselaar (a recent guest-editor with her poet-husband 
>Kurt Brown), Chip Cassin, Scott Challener, Marcus Chinn, Kirk Glaser, 
>Scott Glassman, Julia Andreevna Istomina, George Kalamaras, David Lauer 
>Panzarino, Christine Anne Stewart, and Michael Wingfield
>
>
>
>___________
>2. "FRAGMENT, JUXTAPOSITION, AND COMPLETENESS: SOME NOTES AND 
>PREFERENCES," BY TONY HOAGLAND
>
>___________
>
>The full essay:
>http://www.cortlandreview.com/issue/33/hoagland_e.html
>
> From the essay:
>Collage is really the practice of a theory of knowledge: antirational and 
>semi-intentional, that takes coincidence and chance materials as part of 
>its method and inspiration. By eliminating transition, it embraces 
>ambiguity, improvisation, speed, and multiplicity of meaning. It is 
>expressive, but not primarily self-expressive. It places priority neither 
>on closure, nor on conventional notions of completeness. In the constant 
>conversation between unity and disunity, juxtaposition plays with
>omission and collision. It loves the energy of disruption and dislocation. 
>Apollinaire, his contemporaries, and their aesthetic heirs were more 
>interested in creating inventive disorientations than in delivering 
>packaged unities.
>
>For the sake of fixing a usable terminology, one way to put it might be 
>this: fragment is the unit, juxtaposition is the method, collage is the 
>result.  When you juxtapose two fragments next to each other, without 
>transition, you get collage. In fact, when you place any two dissimilar 
>units side by side-even complete sentences, even paragraphs-they acquire 
>the quality of fragment, because they are not completed by their 
>surroundings. The fractured poem may be relatively linear and continuous,
>or it may be radically disjunctive, but when transition is removed, 
>relations become implicit, not explicit. Content may be whole or partial 
>or it might even be deliberately absent, to be provided by the reader.
>
>
>___________
>3. "MARCH CHIMES," BY LAURE-ANNE BOSSELAAR
>
>___________
>
>The full poem:
>http://www.cortlandreview.com/issue/33/bosselaar.html
>
> From the poem:
>And I remember it now-that void
>inside me when nothing stirred, nothing
>
>moved, my body between seasons, but drawing
>trust from patience and patience from hope.
>
>
>___________
>4. "VIBRATO," BY CHIP CASSIN
>
>---------
>
>The full poem:
>http://www.cortlandreview.com/issue/33/cassin.html
>
> From the poem:
>he's still inside of me
>with his hat flipped back.
>breeze on his face
>thumb out
>taking it to the limit-
>
>
>___________
>5. "BURNT TOAST," BY MARCUS CHINN
>___________
>
>The full poem:
>http://www.cortlandreview.com/issue/33/chinn.html
>
> From the poem:
>Despite dislocation of spite in my sneer,
>the suits & ties grab my head
>and put gel in there.
>
>This Way. Turn Around. Walk. Cite
>Authorized Personnel Only,
>Straight and Uptight.
>         These doors must remain unlocked during business hours
>
>
>___________
>6. "SEPTEMBER," BY JULIA ANDREEVNA ISTOMINA
>
>___________
>
>The full poem:
>http://www.cortlandreview.com/issue/33/istomina.html
>
> From the poem:
>No different
>than
>Shelving rye
>and birdseed-
>Winged
>packing up
>to go-
>Deep as
>these maladies-
>Thick as
>Frank O'Hara's
>Pockets
>
>___________
>
>
>The Cortland Review
>http://www.cortlandreview.com
>
>
>
>This email is being sent to: maurya.simon at ucr.edu
>-------------------------------------------------------------------------
>Please do not reply to this email.  If you wish to be removed from this 
>mailing list, click on the link below, or copy and paste the url into your 
>browser:
>http://www.cortlandreview.com/subscribe.php?action=remove&email=maurya.simo
n at ucr.edu

Maurya Simon

Professor
Department of Creative Writing
University of California Riverside
900 University Avenue
Riverside, CA 92521-0318

TEL. (951) 827-2006 (office)

FAX: (951) 827-3619