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Gloria Mindock, Editor   Issue No. 4   October, 2005


Hi! I hope you enjoy the October newsletter. As most of you know, the press now has its own domain. I have a bigger web host which gives me more options. This will help me be more organized since the press is growing so quickly. I hope you have bookmarked all the addresses. I will list them again.


Remember, if you are giving a reading or workshop, let me know, I will be glad to list it. I am getting many chapbook entries. This is really wonderful. I am so appreciative and excited about it. I look so forward to reading them.

From September 1st to December 1st, submissions are being accepted for the chapbook contest.
Please check guidelines on the website and submit.


Raves:  Poor Theatre
Wooster Group
Performing Garage
33 Wooster St.
Pays homage to: Jerzy Grotowski, William Forsythe, and Max Ernst

This is something I must attend. I have seen numerous productions over the years by the Wooster Group. They take such risks in their performing and direction. This piece interests me because of the Poor Theatre and because of Jerzy Grotowski. Jerzy Grotowski is definitely my all time favorite in the theatre. I have seen films/documentaries of his Polish Lab Theatre. His work is so physically grueling. Years ago in the early 1970's, I was able to work with a woman who worked directly with him. This workshop went on for 4 months. It was the most important thing I've ever done. I learned so much. Physically, I was never so exhausted in my life. Let me tell you, I definitely was in good shape. There are two books that I just love written about him. GROTOWSKI AND HIS LABORATORY by Zbigniew Osinski. The other book is AT WORK WITH GROTOWSKI ON PHYSICAL ACTIONS by Thomas Richards. These are the books to read if you want to understand his direction. For those of you with no background on Grotowski, pick up these books!!!!! There is so much to his style, I cannot write about it and do him justice. It is too complicated. I learned from doing.

If you want an easy approach to understanding him, revisit the old movie My Dinner With Andre. Wallace Shawn plays the character who wants the modern conveniences in life, while Andre Gregory takes on the other side. Andre was definitely Grotowski here. I loved this movie for that reason. Unfortunately, I can't remember if Andres dialog was based on him. It's been so long.

In my own work, in the theatre, he is my biggest influence. The discipline I learned in my work, I have always taken with me in other areas of the theatre whether it is acting, singing or writing. There is nothing I won't try. I put 100% into it. Theatre has always made me feel alive. Whether anyone ever uses Grotowski's methods or not, they should study him. In theatre classrooms, everyone learns about Stanislavski and studies his craft, well, Grotowski and him should be taught hand in hand.

My purpose here isn't to go into his methods because I know some of you wouldn't be interested in that. Believe me if I start that, this would go on too long. He is such a big part of the theatre that I wanted to keep a spark lit on him. Maybe some of you will read about him or go see the Wooster Group pay homage to Grotowski, Ernst, and Forsythe.


September 25, 2005

First write a bio about yourself.

The poetry stuff is easy to look up, so I'll tell you about my "real" life. I grew up in northern New Jersey, not far from New York City. After my mother moved last year, the small white house where my brother and I grew up was sold, razed, and replaced by a monster mansion---not exactly progress. I have no plans to go back there and see it, though, so my childhood is still alive and well in my mind. My brother (my only sibling), by the way, is an amazing artist---and ridiculously unknown, partly through his own choice. I attended Catholic schools for 12 years, but the Catholicism didn't stick and eventually turned me rabidly against itself. I've always loved to write, even when I was a kid. For a while I studied classical guitar. I also went to undergrad school in NJ, but got my MFA many years later from U. Mass. Amherst. I've lived in Massachusetts since the mid-70s and now live outside of Boston with my husband and four brilliant cats. I am pining for a German Shepherd. I am pining for a couple of llamas. I really connect with animals and finally escaped academia four years ago (I think you could have called me a successful misfit) to work full-time writing for the Massachusetts Society for the Prevention of Cruelty to Animals. It's heaven to be around "animal people" all day after spending so many years in schools. What a refreshing difference. I know there are some great people working in academia---I applaud them for surviving in what I found to be largely a fake and competitive environment. I don't mean to offend anyone; that's just been my experience.

Describe the space you write in.

That would be everywhere, since I frequently jot things down when they happen. No, I know, you mean in my house or office. I have more or less usurped the very small porch-like space on the back of our house where my husband and I have our "main" computer. I write on the computer pretty much all the time---I like the speed of it. This non-room is very small and uncluttered, unlike my actual study, which is hilariously unkempt and full of cat stuff and books and clothes and millions of pieces of paper. The computer nook has four big windows with funky curtains and can be closed off from the rest of the house. We call our house "Spoonrest," by the way. We were looking for a funny Masterpiece-Theatre-type name for it. It's a great old frowzy house in a very rural setting, but still close enough to Boston. Spoonrests have always fascinated me and I like the sound of the word. They've made their way into some of my poems.

Talk about your book, The Yellow Hotel, published by Verse Press.

Sometimes I pick up The Yellow Hotel and it feels as if it just came out, although it's over two years old already. I still feel close to those poems, which is unusual for me---I usually move along rather rapidly in terms of which of my own poems still speak for me. It also feels like my "only" book, although it's not. The people who run Verse Press are exactly the kind of people I needed to have publish that book---talented and smart and genuine and dear. Also not pompous, which is probably more important to me than anything. I got a lot of great feedback on that book, which lifted my spirits a lot. I had just been through a sickening job fiasco in which a low-residency MFA program I designed, and which I'd been promised the directorship of, was pulled out from under me by an unscrupulous, lying administrator. (I won't name the university, but it's in Cambridge, begins with L, and rhymes with Wesley---ha!) So getting that particular manuscript into print meant the world to me then. Still does.

What inspires you to write?

Shiny details, snippets of conversations, images from dreams, textures of feelings that need to be named. Nuance. Injustice. Music. Lots of art. Body feelings. Also major life shifts in mood or approach. Sudden realizations. The news. Other people's writing. I never know what it will be.

Your husband Carey is also a writer. Talk about that some.

Carey (P. Carey Reid) is a wonderful writer---fiction now, although he's done lots of poetry in his life. His first book, Swimming in the Starry River, put him on a lot of people's favorite writer list. Years after its publication, it's still being read by enthusiastic book groups. Carey is a very disciplined, hard-working writer, while I'm a sort of hit-or-miss type. This allows one of us to be available at all time to feed the cats. We actually met when he came to a poetry reading I was doing---to see the other reader! Carey is trying to place some excellent manuscripts now. Our writing styles are as vastly different as our methods, although I think after all these years we've each come to appreciate more of the other person's approach. While we frequently don't agree on what's good, we usually agree on what's bad, especially in fiction. If I put a book down because it's poorly written, I usually find that Carey's already rejected it. Carey's also a marvelous photographer, and is just beginning to get noticed for that a bit. Our house is full of his pictures.

What are you working on now?

As always, more poems. I'm not much of a "project" person. A couple of weeks ago I wrote some very short poems for a change, but now most of my new work is longer again. A few specifically political poems, surprisingly. Or maybe not surprisingly---our country is in such a sad state that it's almost impossible not to write about it. The political poems are angry. The current administration just begs to be written about---I'm deeply offended by George Bush and every mirror he's ever looked in. I have a new book manuscript that's looking for a home. There are no overtly political poems in that, only because they didn't fit. The political ones might get grouped together some day---or maybe they'd be better on a CD. I like reading them aloud and hearing the audience react.



Andrew Michael Roberts coordinator for Amherst's Jones Library and Jubilat Reading Series announces the 4th annual jubilat/Jones fall reading series. Readings will take place in the Trustees Room at the Jones Library, 43 Amity Street in Amherst, Massachusetts and will be followed by a Q & A session with both guest poets, then a reception with light refreshments, during which visitors can meet the poets. All readings are free and open to the public.

Saturday, October 8th, 3:00pm
The jubilat/Jones 5th Anniversary Party with
Dean Young and Tony Hoagland
Q & A and reception to follow reading

Sunday, November 6th, 3:00pm
Mary Jo Salter and Rebecca Wolff
Q & A and reception to follow reading

Sunday, December 4th, 3:00pm
Suzanne Buffam and Dan Chiasson
Q & A and reception to follow reading


Brock Clarke
236 Bay State Road/basement
Boston, MA
Friday, October 7, 2005
6:00-8:00 p.m. (Brock will read at 6:45)

Ha Jin, Mary O'Donoghue, Wesley McNair, Dana Levin
Followed by a party to celebrate the release of AGNI 62
Wednesday, October 19, 2005, at 7:30PM
675 Comm. Ave.
Boston, MA
Boston University, Stone Science B-50 (entrance at the corner of Comm. Ave. and Granby St.
Green Line "B"-BU East Stop


Prize poets: Jean Pedrick, Mary Buchinger, James Whitely, James Connolly
Monday, October 3, 2005
7:00 PM
Yenching Library
Harvard University
2 Divinity Ave.
Cambridge, MA
(off Kirkland, opposite Sanders Theatre)

Sunday, October 30, 2005
Layne Longfellow, Diana Der-Hovanessian, Martin Haroutiunian(flutist)
3:00 PM
441 Mystic St.
Arlington, MA

Porter Square Books

25 white St.
Cambridge, MA

Wednesday, October 19, 2005
7:00 PM
Jane Brox will read from Clearing Land

Poetry Reading
Friday, October 21, 2005
Alison Stone
Deborah DeNicola

Other readings

Benefits for Hurricane Katrina Relief
Toni Morrison, Cecil Taylor, Yosef Komunyakaa and others
October 1, 2005
St. Mark's In-the-Bowery
Second Ave. at 10th St.

Guggenheim Performance Art Series
Paul Muldoon, poet
4 of his poems set to music by theatrical composers with vocalist Darius de Haas
October 2-3
Rensselaer Polytechnic Institute
5th Ave. at 89th St.

William James Austin
Sunday, October 9, 2005
The Knitting Factory
74 Leanord St.
Manhattan, NY


On Sunday afternoon 9 October, between the Jewish High Holy Days, at 3 pm, Richard Kostelanetz will present the six films made with Martin Koerber about the Great Jewish Cemetery of Berlin Weissensee at the Anthology Film Archives, on the SE corner of Second Avenue and Second Street, New York City:

A Berlin Lost, Ein Verlorenes Berlin, Berlin Perdu, El Berlin Perdido, Ett Forlorat Berlin, Berlin Sche-Einena Jother (1982-1984), each 21’, respectively in English, German, French, Spanish, Swedish, and Hebrew. Footage of the cemetery two decades ago evokes pre-WWII Berlin as the entire image of six films in six different languages, each with a different original soundtrack of ex-Berliners talking about the world represented there. More distinguished than most documentaries, it lacks a celebrity- introducer and even “talking heads.” Nor do we annouce what we take to be the principal theme of the cemetery as a surviving representation of the best Berlin. All you see in our films is images and testimonies, always in original languages, never subtitled nor overdubbed. Two other themes (important to me) are the visual poetry of gravestones and the magnetism of the modern city for Jews, as Berlin resembled my native New York (until it didn’t). These films have been screened in venues around the world and are acknowledged in the entry on Kostelanetz in Encyclopedia Britannica.

Between the German and French films, Kostelanetz will screen the footage silently, pointing our details not acknowledged in the soundtracks and answering questions. He will post English translations of the other languages. Also available will be copies of a booklet in English excerpting from the testimonies. This condnsed text also appears in his new book Film & Video: Alternative Views (Autonomedia), for which there will be a reception following the screening. Kostelanetz has published many books in addition to working in film, video, audio, and holography; Koerber has curated historic retrospectives for the Berlin Film Festival, in addition to restoring many classic German films, among them Fritz Lang's Metropolis, M, and Testament Des Dr. Mabuse. This is the first time all six films have been screened in several years. The last time was likewise at the anthology Film Archives. Admission is the standard $10.00.


Poor Theatre
Wooster Group
Performing Garage
33 Wooster St.
Pays homage to: Jerzy Grotowski, William Forsythe, and Max Ernst


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