YOU GO, ISAIAH!!

In my poetry I do not try to find the words to express what I want to say. In my poetry I try to find ways to express what the words have to say.
--Carl Andre

Later today, our family will attend church for Christmas Eve. I will be one of those doing a reading from the scriptures about Jesus Christ's birth.

The reason I am a reader is that the pastor yanked me into the role after a reading I did several weeks ago when I read Isaiah 61: 1-4, 8-11. The reason she yanked me into that reading was because the local paper did an article about my reading at the Library of Congress in October.

Actually, the pastor first asked if I could read one of my poems during a church service. I hemmed and hawwed because, ahem, I couldn't think of a single poem from my very prolific output that I would not be, ahem, embarrassed to read in a church setting. (Let me put it this way, my mother is VERY MAD at one of my generous blurbers for one of my books because he so, ahem, relished the eros in my poems...Anyhoo:)

So the pastor asked me to read from Isaiah instead and it would have been, at that point, extremely ungracious of me to pass. Not to mention that I hadn't attended church for something like eight months prior to her request. So, I sucked it in, went to church, and read Isaiah.

And here's what happened: that day, a few minutes before church was due to begin, I looked at the the Isaiah passages; I just read them on paper, which is to say, I didn't rehearse my reading. So, that morning, it came my turn to read the scriptures and I stepped up to the podium, opened the very Holy Bible to Isaiah and started reading.

O MOI GOD!
(no pun intended)

It was an unbelievable experience -- hot damn (forgive my blasphemy) if the words didn't just take over! I didn't mean to read the passage in any particular way, but the words themselves just took over my blathering mouth and there I was declaiming. I don't quite know how to describe it, but it's arguably the BEST poetry reading I've ever ever done -- not because I'm a great reader but because the words are so great! Isaiah, or whoever translated him for the New Century Version I read from, did an incredible writerly job! The words, the structure -- they had such an incredible music, rhythm, et al that by doing my job which was simply to be open to the poem, the words came out ... divinely.

I think I've had that occur in poetry readings (whether of my poems or others) less than ten times. The last time in memory that such occurred was when I was asked at the last minute to step in for Will Alexander at a City Lights reading. I read a Will Alexander poem and it was so musical that I felt I just sang-roared!

Isaiah (like Will Alexander) achieved something most poets never achieve: the poem takes over the poet because the poem creates a new life successfully through words, structure, music ... But don't take my word for it! Here are the verses from Isaiah I'm referencing. It doesn't matter if you're a Christian or not. Read them. Read these words for these words themselves, OUT LOUD. Perhaps you too will feel the inherent poetic structure, the crystalline logic of music here.

Isaiah 61: 1-4, 8-11

The Lord God has put his Spirit in me,
because the Lord has appointed me
to tell the good news to the poor.
He has sent me to comfort those
whose hearts are broken,
to tell the captives they are free,
and to tell the prisoners they are released.

He has sent me to announce the time
when the Lord will show his kindness
and the time when our God will
punish evil people.
He has sent me to comfort all those who
    are sad

and to help the sorrowing people of Jerusalem.
I will give them a crown to replace their ashes,
and the oil of gladness to replace their sorrow,
and clothes of praise to replace their
    spirit of sadness.
Then they will be called Trees of Goodness,
trees planted by the Lord to show his greatness.

They will rebuild the old ruins
and restore the places destroyed long ago.
They will repair the ruined cities
that were destroyed for so long.

I, the LORD, love justice.
I hate stealing and everything that is wrong.
I will be fair and give my people
what they should have,
and I will make an agreement with
them that will continue forever.

Everyone in all nations will know the
children of my people,
and their children will be known
among the nations.
Anyone who sees them will know
that they are people the LORD has blessed.

The LORD makes me very happy;
all that I am rejoices in my God.
He has covered me with clothes of salvation
and wrapped me with a coat of goodness,
like a bridegroom dressed for his wedding,
like a bride dressed in jewels.

The earth causes plants to grow
and a garden causes the seeds planted
in it to grow.
In the same way the Lord GOD will
make goodness and praise
come from all the nations.

After this experience, I'm reading the Bible again. How apt for me that, if this sinner finds religion after all (so to speak), Poetry too will have been my way back to its fold.

***

By the way, the pastor left a message in our phone machine following my Isaiah reading. She goes on and on about what a great job I did, and that she'd never heard the scriptures read that way before. I mention this because I refuse to delete that from the phone message machine. Nowadays, when someone in the household -- usually the hubby -- is making some wisecrack at my expense, I play the message out loud in the kitchen to prove to him how I am worthy of MUCH RESPECT.

I've been trying to figure out how to take that message and create a loop for it for a CD that he can put into the car stereo to listen to as he commutes back and forth to San Francisco. I haven't figured it out yet, which is unfortunate -- it'd be the best Xmas present that guy could ever get.

***

Speaking of Christmas, last night we went to San Francisco to see the delightful Dr. Seuss' How The Grinch Stole Christmas. Here's Michael and Mom:



Afterwards, we hung up some Grinch ornaments on the tree. A Christmas Tree, you see, is how I also like to think of my poems -- where what's ornamenting themselves there have real life avatars. You're welcome for my Christmas present to you: that is your poetics lesson for the day!

SOME NOVEL REVIEWS & 2ND PRINTING OF NOVEL UNDERWAY!

Wow. In a couple of weeks, my FIRST NOVEL (grin) has sold out its first printing! Uh, okay, I mean "given" out its first printing....to peeps in nine countries so far! But not to worry, publisher Amanda Laughtland of the veeeery charming TeenyTiny Press is fast-and-furiously wielding colored pencils to do a "second printing"! So, still: details for FREE NOVEL HERE!

My novel is textually encompassed by a single (8 X 11") page. But oooooh peeeps seem to love its BIG HEART!

Even though I continue to shy away from it, the NOVEL CHATELAINE has no such compunction and has showed up on FACEBOOK! I can't access its lovely face but there's apparently an oenophiliac statement that goes..."weighs significantly less than five ounces of wine. The prose, however, is robust and well-decanted (i.e., no deadwood)." Yeeee-hah! I ain't deadwood!

Then, Jesse Glass reviews my novel and, in the process, reveals my secret relationship with Jack and the Beanstalk. It begins:

Let it go down in the record books of eternity that Amanda Laughtland, of Teeny Tiny Press, has cracked the sound barrier with the aplomb of Sam Shepard in the Right Stuff, by bringing out Eileen "Bean" Tabios' first novel in a teeny Tiny edition with a hand-colored bunch of grapes on the cover! CLICK HERE FOR ENTIRE CHEERFUL REVIEW.

Just for that, Jesse, I'll mention that JESSE GLASS IS THE DESERVING FEATURED POET THIS WEEK AT POETRYVLOG.COM! Wink.

Then, comes this response-letter -- longer than moi novel! -- extrapolating from said novel to outline a path for my future (heh). From John Bloomberg-Rissman:

Hi Eileen—

I was away at a conference in Denver so didn’t get the mail til last night. First thing, of course, I devoured your novel, which is 1) great and 2) will require many rereadings and is 3) great. I do have a question and a thought (or, rather a fantasy …)

The question first, which I ask as a person who spend 1.5 decades immersed in the 17th century: without asking you to reveal any anything not in the novel, I just wonder what that century signifies for you? I mean, why c17 instead of c18 or c19??

And the thought, which is less a thought than an imagined trajectory your work, at least one aspect of it, seems to be taking. OK. First (maybe not first, but …) there was your Tiny Books project. Now this Teeny Tiny Book. Kind of like the Incredible Shrinking Woman’s Incredible Shrinking Works …

Here’s how I imagine your next project:

24 small bottles. 24 because that’s the number of the “books” in the Iliad, the archetypal epic. And because 24 is a hay(na)ku number (4 “stanzas”). Bottles somewhat a la Kiki Smith’s Untitled 1987-90. But in this case the bottles are clear. Inside each is a http://www.greenandstone.com/v2/i/p/gelcap.jpg clear gelcap. Inside each gelcap is a grain of rice, engraved with a single word (I know there are plenty of people in SF with the requisite skills …).

All in all, an epic.

I mean, now that you’ve conquered the lyric, the serial poem, the essay, ekphrasis, the novel, etc what’s left but to go after the biggest game in all western literature, something that’s supposed to have become impossible: the epic?

Unless you’d prefer to tackle a gesamtkunstwerke … out-Wagnering Wagner … but why not do both at the same time, since you seem to have no problem producing “bricks” and “infinitesimals” at the same time?

Of course, if you do create a rice sized piece, then next thing you know you’ll need to get one of those things that can engrave atomic particles … but I suppose there’s plenty of room for a nuclear lab up on top of your mountain …

In any case, you can see what your novel has done to me, at least formally speaking. I’m not yet ready to address the bildungsroman embedded within, the love story, the time travel “fantasy” (which may not be a fantasy), etc.

I would be envious of your talents and charms and chutzpah if I didn’t like you so much. Instead, I’m just happy for you!

Cheers,
John

PS, please congratulate the artist/publisher for me next time you get a chance. The presentation is perfect. [INSERT, CONGRATULATIONS AMANDA!]

PPS. It occurs to me that you live with Achilles. So writing in the epic tradition should be easy. “”Sing, O goddess, the wagging tail of Achilles” or somesuch. Isn’t that how these things begin?

PPPS. Of course the usual English translation where I put the wagging tail is wrath. I was thinking after I wrote that "I sing the woof of Achilles" is much better ... right sound, right metrics, etc. And then he goes ahead and say woof!

PPPPS. Do you have Lee Harwood's Collected Poems? There's a piece in there he wrote with Ric Caddel called Wine Tales: un roman devin, and, no shit, it takes place in part in a chateau. It's about 15 pp of prose, so your novel is shorter, but ... uncanny, eh?

PPPPPS. ...my idea of the bottle with the gelcap in it is stolen from my son’s girlfriend Rebekah May, who’s an artist currently getting her MFA at CCA. A few months ago she made something for me, which I keep by the side of the bed. My dazzling brilliance was to turn her piece into a series, a la Kiki Smith), to turn the gelcap clear, to include the grain of rice, and to see it as epic. But you should know about Becky. // Much of her work since he problems began revolves around embodiment, pain, etc., kinda like Frida Kahlo’s. // ...and I know Becky’s a fan of Damien Hirst, and Hirst’s been working with (depicting, that is, not to taking, at least not that I know of) pharmaceuticals for a while now. I’ve been to a show of that stuff with her.

John, in case you can't tell, is what I want to be: a librarian! Thanks for the gratuitous advice, John! It's an honor of course when my work elicits such names as Kiki Smith's.

As for that 17th century reference, well, it's because the Chatelaine's wine cellar door is a BIG IRON DOOR from a 17th century Loire Valley chateaux, complete with matching 17th century key. Well, yes, this of course relates to authenticity, to wit:

I may write fiction, but I never lie.

Would you expect anything less from Moi....?

And:

THIS HAS BEEN A PUBLIC SERVICE ANNOUNCEMENT TO SPREAD HAPPINESS. Worry! But be Happy!

EISWEIN POETICS

Sometimes, when one works in collages, appropriations, recontextualizations -- however one refers to it -- the notion of the result "being better than the original" comes up. But, really, if you think about it, and of course you do, when something inspires an artist to create anew, this isn't the way to think about the nature of inspiration.

Think of it as the creation of eiswein versus the creation of other dessert wines based on "noble rot". Eiswein is made from grapes that have frozen on the vine, but are otherwise healthy grapes. Other sweet wines (like Trockenbeerenauslese, Sauternes, Beerenauslese or Schilfwein) are made from grapes affected by botrytis (or "noble rot"). The latter creates something fabulous from sources that are otherwise ... icky.

Entonces, when fabulous writing inspires me to create new poems, I think of the process as Eiswein poetics because one wasn't trying to improve on the original sources which are healthy in their fabulousness -- one simply was inspired.

Which all leads me to what I was working on today -- the manuscript for my new poetry collection which I've since entitled

                  NOTA BENE EISWEIN

The "Nota Bene" refers to the what I noted or derived from existing writings, and the Eiswein refers to those writings' fabulousity.

Well, I don't know about you -- but that's a great way to start off cocktail hour for Moi! So, cheers!

DEAR FILIPINO POETS,

[Please Forward]

Dear Filipino Poets Worldwide:
You are invited to submit to a fun poetry contest. No submission fees. E-mail submissions. Details below:


MP SEVENTH ANNUAL HOLIDAY POETRY CONTEST
Sponsor: Meritage Press
Judge: Eric Gamalinda
Deadline: December 31, 2007


ABOUT THE JUDGE:
Eric Gamalinda's publications include Amigo Warfare [Cherry Grove Collections], Zero Gravity [Alice James Books], Lyrics from a Dead Language [Anvil, Manila], poems; My Sad Republic [University of the Philippines Press], Empire of Memory, Confessions of a Volcano [ both Anvil Publishers, Manila], Planet Waves [New Day, Manila], novels; Peripheral Vision [New Day], short stories; Flippin': Filipinos on America, anthology [Asian American Writers Workshop, co-edited with Luis Francia]. His awards include the Cultural Center of the Philippines Independent Film and Video Awards [2004], the Asian American Literary Award for Zero Gravity [poems, 2000], the New York Foundation for the Arts [fiction, 1998], the Philippine Centennial Literary Prize for My Sad Republic [novel, 1998], the National Book Award, Manila, for Planet Waves [novel, 1990], and a number of Carlos Palanca Memorial Awards for fiction, poetry, essay and playwriting in the Philippines. He is working on a new collection of poems to be entitled Relic Light. More information about him and his works are available at his website: http://mysite.verizon.net/vzeslrlq/gamalinda/index.html


ABOUT THE CONTEST:
All poets are encouraged to submit by e-mailing 1 or 2 poems to MeritagePress@aol.com. (Send no more than 2 poems). Please present poems within the body of the email as we do not open attachments.) Please include your full name along with your e-mail address. However, the poems will be sent without your names to judge Eric Gamalinda, thereby allowing the poems to be read on their own merit. All poets are welcome to submit — it doesn’t matter whether you’re established or emerging as the work is read on its own merit.

There are no limitations to poetry styles or content. All types of poems are welcome. We are now taking submissions up to the deadline of December 31, 2007.

Only previously unpublished poems are eligible (you may, however, submit poems that you have featured on your own web sites or or blogs, or that have been published in limited edition chapbooks of no more than 250 copies).


PRIZES:
Meritage Press has asked Eric Gamalinda to choose one winner. However, Eric may choose other finalist-winners, depending on the quality of the submissions. The winner(s) will have their poems published in the February 2008 edition of “Babaylan Speaks” at http://meritagepress.com/babaylan/

The FIRST PLACE WINNER also will receive SELECTED FILIPINO TITLES:

AMIGO WARFARE by Eric Gamalinda; for more information about the book, go to http://www.cherry-grove.com/gamalinda.html (Patrick Rosal and Eileen Tabios discuss Eric's amazing book, AMIGO WARFARE, at http://galatearesurrection8.blogspot.com/2007/11/two-books-by-eric-gamalinda_30.html and http://galatearesurrection8.blogspot.com/2007/11/two-books-by-eric-gamalinda.html

PRAU by Jean Vengua; for more information about the book, go to http://meritagepress.com/prau.htm

MUSEUM OF ABSENCES by Luis H. Francia; for more information about the book, go to http://meritagepress.com/museum.htm

KALI’S BLADE by Michelle Bautista; for more information about the book, go to http://meritagepress.com/kalis.htm

THE FIRST HAY(NA)KU ANTHOLOGY, co-edited by Jean Vengua and Mark Young; for more information about the book, go to http://www.meritagepress.com/haynaku.htm

PINOY POETICS; A Collection of Autobiographical and Critical Essays on Filipino and Filipino American Poetics, edited by Nick Carbo; for more information about the book, go to http://meritagepress.com/pinoypoetics.htm

THE LIGHT SANG AS IT LEFT YOUR EYES by Eileen Tabios; for more information about the book, go to http://marshhawkpress.org/tabios3.htm

I TAKE THEE, ENGLISH, FOR MY BELOVED by Eileen Tabios; for more information about the book, go to http://marshhawkpress.org/tabios2.htm

MENAGE A TROIS WITH THE 21st CENTURY by Eileen Tabios; for more information about the book, go to http://www.ourownvoice.com/books/2004xpress.shtml

BRIDGEABLE SHORES by Luis Cabalquinto; for more information about the book, go to http://www.artbook.com/1885030347.html


AND SELECTED MERITAGE PRESS POETRY TITLES:
COMPLICATIONS by Garrett Caples; for more information about the book, go to http://meritagepress.com/complications.htm

THE OBEDIENT DOOR by Sean Tumoana Finney; for more information about the book, go to http://meritagepress.com/obedientdoor.htm

OPERA: Poems 1981-2002 by Barry Schwabsky; for more information about the book, go to http://www.meritagepress.com/opera.htm

100 MORE JOKES FROM THE BOOK OF THE DEAD by John Yau and Archie Rand; for more information about the book, go to http://meritagepress.com/100morejokes.htm


FINALISTS:
Other finalist-winners besides the winner, if any, will receive two of the above-listed books (the choice of books are up to Meritage Press).


PREVIOUS WINNERS:
2006: Joel M. Toledo (Judge: Michelle Bautista)
2005: Arkaye Velasquez Kierulf (Judge: Jean Vengua)
2004: Joel H. Vega (Judge: Sarah Gambito)
2003: Luisa A. Igloria (Judge: Patrick Rosal)
2002: Naya S. Valdellon & Michella Rivera-Gravage (Judge: Oliver de la Paz)
2001: Carlomar Arcangel Daoana (Judge: Nick Carbo)

For questions or more information, you can email MeritagePress@aol.com

I WANT YOUR TAIL

So, apparently, due to having written essays on my poetry which are featured in, amongst other places, Punctuations and Pinoy Poetics, Leny just got tenure at Sonoma State University (Humanities Dept). For Leny: Wooooot!

Yes, award-winning Leny has done other things besides write about Moi in order to get her new title of "Assoc. Prof." But I'm happily taking credit as Lazy Moi loves nothing better than latching on to your coattails. So swish your tail my way --

And Moi can do this for you who look with your ears: my "best of..." pick in the current (humongous Summer) issue of Artforum. Subject to reproduction effects, my picks are the smiling gargoyle by Tom Friedman, part of his June 1-July 21 exhibition at the Lever House, NY; and the painting of naked babe with guns by Maria Lassnig for her exhibition from June 10-July 28 at Hauser & Wirth Zurich. Yawn, I mean, yadda...

APPRECIATIONS

I sure appreciate Richard Lopez for reading PINOY POETICS and presenting a discussion about it in an unexpected (to me) but certainly apt context!

I'm always happy to see discussions re PINOY POETICS. I think it's an important project (it's the primary reason I created Meritage Press in the first place), but I, as its one-peep publisher, am always concerned I don't have the resources to do enough spreading the word about it. Anyway, please do check out this historically-significant project that's a perfect teaching text and important to poetry lovers and distributed viz SPD!

And speaking of Filipino poetry, more celebration of diversity HERE (thanks to moi New York publisher)!

THE LITTERBUG DON'T CALL IT TRASH!

From Nottingham, England, poet-publisher Alan Baker calls PINOY POETICS -- the most undeservedly utilized poetry textbook out there, btw --

"a revelation"!!

Yay. Thanks Alan!