Still image from a video posted to YouTube here.
Another massive installment of Otoliths, something of a journal of record for the international avant garde lit scene, was just released yesterday. This is Issue 57, for Southern Autumn 2020 (as it’s edited in Australia). Tons of new visual poetry, text work, poetry, poetics, etc (all the unclassifiable stuff) for passing the quarantined time and sharing with your socially isolated friends.
I’m very pleased to be part of this issue “Sparkle Plenty,” a long poem based on a restricted vocabulary drawn from American magical thinking in a form that could be some programming sent from one Artificial Intelligence to another. Only 2 of 12 stanzas are represented below. Also, ten pieces of visual poetry with asemic calligraphy, part of a much larger set of work that may comprise the log book of a human colony on an extraterrestrial world. You can check it out here.
Over the years 1989 to 2001 when I edited and published thirteen issues of the music and outsider art fanzine MOLE, I accumulated a huge number of fanzines. Most of them were music related, but there are examples of all sorts of zine genres–travel zines like Dishwasher, handwritten things, proprinted mags on glossy paper, and more. The picture above shows the sixteen cartons full of the collection. I decided to donate the whole mess as part of a downsizing effort in preparation for a long move to another state. That effort has been put on an indefinite hold due to the coronavirus social distancing, but that’s another story.
Finding an archive willing to take so many magazines proved more difficult than I thought. The DC Punk Archive was a first choice, since MOLE was a DC-based publication. However, even though my contact there, Michele Casto, called the collection “epic,” the archive’s small footprint at the Martin Luther King public library in DC wouldn’t allow them to expand beyond a DC-metro focus. I had already donated a bunch of LPs, CDs, tapes and ephemera to the DC Punk Archive, but I didn’t want to separate out the few DC zines and thus break up the whole collection. I also tried a few other places, but they either had a regional or topical focus that meant they couldn’t take the whole thing, or they never responded.
At the top of my list was The Center for Popular Music at Middle Tennessee State University, in Murfreesboro, TN, because it generously supported MOLE during its existence by taking out a regular subscription and paying the full annual fee even though I only printed one issue a year (instead of the promised 3 or 4). Of course, we’re only talking about $10, but the number of subscribers was pathetically small. At first, the size of the collection was a barrier for CPM, but when its director, Greg Reish saw my pictures of all the boxes, along with shots of the contents of each, he was hooked. I also gave the archive three cartons of promotional materials I received during the 90s from record labels at every level from single band efforts to indies to corporate. I found a box of promotional postcards and threw those in. And all my copies of Flipside, Maximum Rocknroll, Factsheet Five, and Option were included (not shown in the picture above.) All told, the donation amounted to 26 liner feet of fanzines, promotional materials, and assorted other materials.
In late February, Greg Reish flew out to Northern Virginia, rented a minivan, and came by to pick up the boxes. We filled the van–you can see the mass of stuff below–and he drove back to Tennessee. It was a big relief to pass all that stuff on to a great archive that will make the material available for readers and researchers.
Just got the new issue of Chiron Review, #118 Spring 2020, in the mail, a bit in advance of the official release date. Lots of great work in this print-only poetry journal, one of the best of its kind remaining in the under-the-mainstream scene. I’m very pleased to be included with one of my poems, “Reaching for the Sun.” It’s another installment in a series about an imaginary relationship between the narrator and a woman named Billie. You can purchase copies of the issue from the Chiron Review website when it’s released.
Online poetry journal Rat’s Ass Review just released its Summer 2020 issue, crammed with loads of great poetry, much with that straightforward, real life focus found in the best outlaw work. I’m pleased to be represented with two poems, “Keeping It Forever” and “Holding On Tight.” These pieces are from a series about an imaginary relationship between the narrator and a girl named Billie. You can read the complete issue here.
Blacksburg, VA, industrial/noise band from the late 80s, way ahead of their time. Show poster circa 1986/87. Unfortunately, I did not attend this performance; all I got is the lousy poster!