2:00 pm EST, August 25, 2016, Julia Stein reads a selection from her unpublished novel 'Take a Piece of My Heart," Arts Express, WBAI radio 99.5 FM NYC. Her heroine takes part in the Free Speech Movement/civil rights sit-in at UC Berkeley during the hours the sit-inners are arrested:
Also, the reading will be streamed live online at wbai.org and will be archived under Arts Express so one can listen to it in the month after 8/25/2016:
Wednesday, August 24, 2016
A Review of A Higher Form of Politics: The Rise of a Poetry Scene, Los Angeles, 1950-1990. Sophie Rachmuhl. Otis Books Seismicity Editions, 2015. 249 pp. $12.95 (included is CD of Innerscapes Ten Portraits of Los Angeles poets A Film by Sophie Rachmuhl).
In describing Black Arts poets, the author fortunately describes the larger context of the1965 Watts Rebellion against an intensely segregated city and then the Watts Writers Workshop led by novelist Budd Schulberg. One wishes she’d add a bit more about Southcentral’s tradition of great jazz musicians—Eric Dolphy, Charlie Mingus, Buddy Collette, Frank Morgan, Don Cherry, Horace Tapscott, and Billy Higgins. Rachmuhl writes excellent portraits of three leading Black Arts poets: Kamau Daaood, master poet whose work celebrates LA’s wonderful black jazz artists or often is a poetry/jazz collaboration; Father Amde of the Watts Prophets, whose record Rapping Black in a White World was a forerunner of rap; and Wanda Coleman, whose autobiographical poems about growing up in Watts or being a black single mother/worker/poet have searing honesty.
Rachmuhl uses the insights of French sociologist Pierre Bourdieu to explain what communards such as the Black Arts poets need for a successful intervention: 1.) growth of an audience that gives poets financial support and legitimacy; 2.) “growth of a network of writers, poetry organizers, and bookstore owners;” and 3.) rival distribution and “recognition networks multiplied, vying for cultural legitimacy.”The author traces how the Watts Workshop writers did develop an audience through their many performances in night clubs to auditoriums gaining a wide audience and were thought as the voice of black Los Angeles in the late 1960s. Quincy Troup in 1968 edited the anthology Watts Poets: A Book of New Poetry and Essay which was sold in bookstores.
Rachmuhl also has a wonderful section on the long-neglected Chicano/poets in L.A in the 1980s, tracing their intervention through the production of their two literary magazines and an anthology that developed an East LA Chicano audience. She has a fine analysis of Victor Valle’s brilliant poem “Cuidad of Los Angeles” which rewrites the city’s history from the viewpoint of a Chicano. In Rachmuhl’s portrait of Manual (Manazar) Gamboa, she describes him as a poet who after getting out of prison took part in the workshop at Beyond Baroque and then became head of Beyond Baroque,brilliantly editing Los Angeles first multi-racial magazine Obras, but was soon fired. Rachmuhl describes his terrific autobiographical poetry including about his time in jail and his pioneering writing workshops to thousands incarcerated in the prisons. L.A. in 2016 still carries out prison writing workshops that Manazar started. The book also ably discusses Marisela Norte’s marvelous poetry bicultural writing as well as her participation in the unique urban avant-garde Chicano scene in East LA including poets and visual artists who expressed both Chicano pride and angry alienation doing performance art, placas, plays, gallery exhibits, art books, and readings.
Rachmuhl’s third group of communards is the Venice Beat poets of the 1950s. Of the Venice beats only Stuart Perkoff published a book during the 1950s. Rachmuhl describes how Larry Lipton wrote a successful prose book about Venice beats called the Holy Barbarians that anointed poet Stuart Perkoff a poetry shaman and inspired a short mass media frenzy giving the Venice Beats an audience for a brief time in their 10 minutes of fame.The author fails to recognize Venice beats in the 1950s were influential as rebel symbols but not as poets. Unfortunately,she ignores the more important poets who were in the Tom McGrath group.
Rachmuhl’s misunderstanding of 1950s poetry are a result of her using the old-fashioned idea of a split in U.S. poetry between formalist conservative modernism dominated by New Critics and the innovators found in Donald Allen’s anthology New American Poetry. Cary Nelson’s brought out his breakthrough Repression and Recovery: Modern American Poetry and the Politics of Cultural Memory, 1910-1945 (1989). While the New Critics had attacked and discarded 1930s left poets, Nelson brought them back, with his brilliant criticism about pre-World War I left modernists, Harlem Renaissance poets, and1930s/ 1940s modernist dissidents. Then Nelson’s anthology Modern American Poetry (2000) included for the first all ofU.S. 20th century poetry: left dissident white poets and black poets throughout the century,Chinese immigrant poets, apolitical modernists,1940s Japanese-American haiku written in the concentration camps, and post-1960s multi-racial poets.
In California many 1930s /40s radicals poets—Rexroth, Larry Lipton, and Tom McGrath--later inspired or publicized young writers.While Venice Beats scarcely published during the 1950s, the poets' group centered around Tom McGrath did. Edwin Rolfe had published a book of poetry in 1938, his poetry on the Spanish Civil War made him the major U.S. poet to write about the Spanish Civil War, and he wrote the country’s best anti-McCarthy poems. After McGrath put out four books in the 1940s, and in L.A. he wrote much of his wonderful epic Letter to an Imaginary Friend how Americans survived hard times with grace in his Whitman-like voice.A young rebel Jewish working woman, Naomi Replansky made a splash with her first book of poetry of a 1950s free woman in Ring Song (1952) with Scribners. Don Gordon, the only one to grow up in LA,wrote movingly about World War II carnage in his 1940s book and in his book Displaced Persons (1958) has themes apparent in his titles: “Nobody Hears You,” “The Investigation,” “The Silent,” “The Dissenter,” “The Deportee,” “In the Gaunt Hour.”
Given the New Critics and McCathryite attacks, national recognition for these poets in the 1950s was impossible, but Rachmuhl’s idea of communards does fit McGrath starting California Quarterly and encouraging young poets to start Coastlines—the two important magazines publishing 1950s L.A. poetry. Part of these poets’ intervention succeeded in Los Angeles as the magazines bravely created free space for L.A. culture.
In the books’ section on L.A. women poets Rachmuhl omits three women who did wonderful work. A crucial part of 1970s-1980s feminist poetry was academics’ research and publications rediscovering global women’s poetrs. Ann Stanford, a California State Northridge professor, published the path breaking Women Poets in English (1973), an anthology of 1000 years of poetry as well as another book on Anne Bradstreet, first poet of the American colonies. Stanford was also a fine poet publishing eight poetry collections of poetry as well as a teacher of many young poets.Another omitted poet/professor is Mitsuye Yamada focused her poetry on her wartime internment in two brilliant books of poetry: Camp Notes and Other Poems(1976)and Desert Run: Poems and stories (1989). The third omitted poet is Sharon Doubiago, born and educated in L.A., but she has lived since her twenties outside the city. In her epic poem on love in the time of genocide titled Hard Country (1982), Dubiago wrote about her Southern California childhood and adolescence. She included for the first time in poetry the area’s history including Native history and basing her poem on Helen Hunt Jackson’s Ramona, the first novel written about Southern California.
Rachmul’s book unfortunately omits to follow the succeeding history of multi-racial communards joining together in an intervention in the literary culture in the 1980s. Manazar’s firing from Beyond Baroque in 1980 spurred multi-ethnic poets to network reading spaces across the city from the Old Venice Jail to Manazar’s Galeria Ocaso in Silverlake, to Coleman/Straus’s show on KPFK radio, and to East LA’s Café Cultural and many others. I joined Electrum magazine, getting the magazine as much as multi-cultural poetry to carry on Manazar’s work of showcasing all of Southern California poetry, while John Crawford, who grew up in Pasadena and who had a Ph.D. in English from Columbia University, had his West End Press publish a multi-racial group of California poets—Sharon Doubiago, William Oandasan, Nelly Wong, Wendy Rose, Michelle Clinton, Sesshu Foster, Naomi Quinonez, Russell Leong, and my own book. Only Wong and Rose were not from Los Angeles. West End Press’s anthology Invocation LA: Urban Multi-Cultural Poets (1989) grew out of this decade’s work. Unfortunately, Crawford moved to New Mexico for a college teaching job and continued his press there.
Rachmuhl also omits important Asian and Native American poets who were integral to L.A.’s 1980s poetry.Garrett Hongo grew up in Los Angeles, publishing three books of poetry: The Buddha Bandits down Highway 99 (1978), Yellow Light (1980), and The River of Heaven (1988), which was a Lamont Poetry Selection. In these books he writes stunning autiobiographical poems about his Asian Los Angeles. Native American William Oandasan, a Yuki Indian from Round Valley in Northern California, published seven poetry books with poetry guiding us into Indian country. He edited the magazine A, a pioneering poetry magazine of Native poets. During the mid-1980s he worked as an editor at the Native American Studies Center at UCLA and organized at UCLA a conference of Native American poets. Nationally multi-racial poets had organized into the Before Columbus Book Foundation which in the 1980s had annual poetry awards, giving awards to William Oandasan’s Round Valley Songs and Invocation LA: Urban Multi-Cultural Poets. These poets’ intervention was a breakthrough in gaining an audience, publishing, and laying the groundwork for later L.A .multi-racial literature which kept growing for the next 25 years and finally became accepted by 2015 as Los Angeles poetry with Luis Rodriguez the Poet Laureate of L.A.
Despite these omissions, Rachmuhl’s book is extremely valuable for showing how a French sociologist Bourdieu and Los Angeles historian Mike Daviscan help us understand how poetry is “a higher form of politics.” Rachmuhl’s portraits of neglected African-American and Chicano poets are both masterful, but her biggest accomplishment is her beginning to analyze the ground-up poetry revolution wrought in LA that eventually became the city’s literature by 2015. Anyone interested in contemporary U.S. poetry should read this book, and future literary historians in focusing on more of L.A.neglected poets will certainly build on Rachmul’s work.
Julia Stein published Under the Ladder to Heaven (1984), her first of five poetry books. She did the only interview with poet Tom McGrath on his career in 1950s Los Angeles (On the Bus, 1992).
Thursday, June 23, 2016
How Votes Were Nullified in California? By Julia Stein June 17, 2016
By June 10, 2016, three days after the election, six million voters had been counted in California, but 2.5 million hadn’t been counted. Though pre-vote surveys showed Sanders only very narrowly behind Clinton right before voting day, the June 7 election count had Sanders 43% and Clinton 56% (Sanders received 483,000 less votes than Clinton). By law counties in California don’t have to finish their vote counting until July 8, 2016. Vote counting went slowly through June 16 when 1.9 million ballots still haven’t been counted (Truthdig). California votes were nullified.
According to the San Jose Mercury News in the 2012 primary election 31% of registered voters voted in California (2/3 of the states have more people voting), so the Democratic legislature in January 2016 changed the voting registration procedure making it easier and 650,000 people registered spring 2016, the largest increase in people 18-29. The new law also allows people to be automatically registered when they visit the Department of Motor Vehicles, potentially adding up to 6.6 million new voters: the legislature reasoned easier registration, problem solved. Though the state’s voting procedures and different ballots are quite complicated, a few Sanders’ supporters were the only people who tried to do any education on how to vote for new voters before election day.June 6, 2016, the day before five states including California voted, the Associated Press and NBC “News” both announced that Hillary Clinton had won the nomination based on a poll of super delegates, who don’t vote officially until July 25--a 100% false report. Mindy Romero, director of the UC Berkeley California Civil Engagement Project believes the AP report lowered turnout as many voters stayed home on Election Day—some Sanders voters stayed home.
A just released Harvard study by Professor T. Patterson and the Shorenstein Center on Media, Public Policy, and Politics, after studying eight cable news networks and newspapers, said, “The perception of the Clinton vs. Sanders race created by the media’s earliest coverage generated an aura of inevitability for Hillary Clinton and encouraged a dismissive attitude toward Sanders despite his early mega-rallies on the West Coast and huge advantage with small-dollar donations.” The Harvard study vindicated Bernie supporters that the mass media gave more coverage to Clinton “for the purpose of driving ad revenue and clicks rather than for the purpose of informing the public.”
Democracy Now on June 9, 2016, had Sanders consultant Larry Cohen say Sanders delegates at the Democratic Convention will criticize the problems in voting and will try to abolish the super delegate system. Super delegates are 15 % of the delegates whom voters don’t elect. The party elite, choosing super delegates from either other party elites or paid lobbyists who fund campaigns, instituted the super delegate system to end the voter insurgencies of the late 1960s and 1970s. Cohen argues corporations/Wall Street control the Democratic Party through the use of super delegates and their money, describing how in the state of Washington Sanders won with 72% of the vote but didn’t get one super delegate.
In Los Angeles voters recounted anecdotes of chaotic voting. The Los Angeles Times reported June 14, 2016, that LA County Supervisors heard dozens of complaints from voters and poll workers about “broken voting machines, names missing from voter rosters, and polling stations that ran out of ballots.” Marcia Martin, polling station inspector, said many voters were “recorded as vote-by-mail or never received their ballots, people complained their names didn’t appear on the rolls, and voters were registered with a party they hadn’t signed up for.” Many of those complaining were first-time voters. Sanders voters complained they weren’t given ballots that allowed them to vote in the Democratic primary. Many poll workers were poorly trained.
L.A. County Register –Recorder Dean Logan acknowledged problems caused by “the surge in new voters and existing voters switching party preference …,” and he blamed other problems on a too-complex voting system which was “challenging for voters, cumbersome for poll workers, and difficult to administer.” Logan added that L.A. country is overhauling its voting machine system, “eventually replac[ing] ink-based balloting with touch-screen machines.” If Los Angeles or any other county in the state were serious about vote counting, they’d first train poll workers better and then just hire a great number of short-term workers to count quickly before, on, and just after election day.
Further, California voters are 48% Democrats, 27% Republicans, and 23% independents or 4.6 million independents, many of which are Sander’s voters and/ or young first-time voters who lean to Sanders. Democratic leaders know that about 48% reliably vote Democratic each election. Retiring U.S. Senator Barbara Boxer, a pillar of the state’s Democratic elite, had a bad feud with Sanders’ supporters stemming from her being booed by them at the Nevada Democratic Party Convention. The Democratic elite might have good reasons not to invest in new, simplified voting procedures if they fear they will be rejected by the millions of new voters, but if the Democratic elite restore the state’s New Deal heritage of free public tuition at UC and Cal State Universities (I went to UC Berkeley for $180/year in the 1960s), $15/hour minimum wage, etc, young voters will vote Democratic.
Similar voting problems to Los Angeles’ were reported across the state (San Diego voters held a protests against the same flaws as L.A. voters had complained), but no systematic study has been made and no lawsuit has been filed. If the state’s voting system breaks down with 650,000 new voters, how could it handle 6 million new voters? Though it’s commendable to make voter registration easier, the state needs to simplify its cumbersome voting procedures, get updated machines that also have paper ballots, get enough trained poll workers for the next election, and educate new voters before election day. Senator Senders on CBS news has endorsed open primaries, same day registration, and enough trained staff to get the votes counted quickly.
Californians who want to see votes quickly counted so they count should first try for a serious dialogue with the legislature and the counties that California’s voting procedures be simplified and able to handle 6.6 new million voters without breakdown. Now 2.5 million votes have been nullified by inept voting procedures, mass media propaganda, and the super delegate system. If the state doesn’t improve how it votes, more millions of votes could be nullified in the next election.
Tuesday, November 03, 2015
Stein and Krasilovsky will read from their new book "Shooting Women: Behind the Camera and Around the World" November 14.
Skylight Bookstore reading
Saturday, November 14, 2015 - 5:00pm
1818 N Vermont Ave
Los Angeles, CA 90027
ALEXIS KRASILOVSKY and JULIA STEIN discuss their new book SHOOTING WOMEN: BEHIND THE CAMERA, AROUND THE WORLD (Intellect UK) ISBN: 9781783205066
Shooting Women takes readers around the world to explore the lives of camerawomen working in features, TV news, and documentaries. From first world pioneers like African American camerawoman Jessie Maple Patton who got her job only after suing the union - to China’s first camerawomen, who travelled with Mao – to rural India where poor women have learned camerawork as a means of empowerment, Shooting Women reveals a world of women working with courage and skill in a male-dominated field.
“In the end, although this book [does] … we sum up what this history has taught us about strategic options available to increase women’s role in the media behind the camera. Along with a history of women’s involvement in camerawork, we provide information on how the professional camerawomen got to be where they are and what advice they have for women who would like to work professionally behind the camera.”- Harriet Margolis
Alexis Krasilovsky is the writer/director of the global documentary, Women Behind the Camera(http://womenbehindthecamera.com) and Professor in the Department of Cinema and Television Arts at California State University, Northridge.
The winner of the 2011 Joe Hill Award for labor poetry, Julia Stein, as book editor, has published Walking Through a River of Fir: 100 Years of Triangle Poetry and Every Day is an Act of Resistance: Selected Poetry of Carol Tarlen. Her fifth and most recent book of poetry is titled What Were They Like?
Email or call for price.
Availability: Coming Soon - Available for Pre-Order Now
Published: Intellect (UK) - November 15th, 2015
Saturday, March 29, 2014
I’m on WBAI again This Wednesday. "Mary Ann Miller, Producer and Host "From The Women's Desk" Celebrates Poetry Month with Lorraine Currelley, Poet, and Founder/Director Poets Network & Exchange/New Yor k and Poet Julia Stein/Los Angeles Wednesday, April 2, 10:00-11:00 EST and 7:00-8:00 PM PST on WBAI New York 99.5 FM For Los Angeles/West Coast, the show can be heard online from 7:00-8:00. We poets will be on at 7:30 pm PST. Julia Stein will read from poems about Los Angeles, women , and a poem about her grandmother that reveals her fascination with the Triangle Fire. People on the West Coast can listen The show will be New York/Los Angeles poetry dialogue on radio—very rare as I don’t think it’s ever been done before. People outside New York can listen online to live broadcast below: http://www.wbai.org/playernew.html
Friday, March 07, 2014
I'll be reading my writing 2:30 West Coast time (5:30 NY time) in the event below: March 8- WBAI radio 99.5 New York CELEBRATES INTERNATIONAL WOMEN'S DAY, IN A CONVERGENCE OF SONG, STRUGGLE AND SOLIDARITY You can listen online to live broadcast: http://www.wbai.org/playernew.html TUNE IN THIS SATURDAY, MARCH 8TH FROM 3PM TO 10PM, AND JOIN US FOR A GATHERING OF WOMEN HOSTS AND COMMUNITY ACTIVISTS, PERFORMERS, ARTISTS, POETS AND STORYTELLERS New York, NY – International Women's Day 2014 on WBAI Radio is hosted this year by Mary Ann Miller, From The Women's Desk. **Opening Ceremony: Mary Ann Miller, Kathryn Davis, Lorraine Currelley of The Harlem Arts Fund, Writing For Peace and Pearls of Wisdom Storytellers, and Cynthia Parsons McDaniel presenting 'The Least Known Actress In The World.' **US Representative for New York's 12th congressional district Carolyn Maloney. In a phone conversation with Mary Ann Miller, to speak about her plans to re-introduce Equal Rights Amendment legislation. and many other women's voices.
Thursday, March 06, 2014
I’ll be reading my writing on a live broadcast on WBAI radio from New York March 8 at 2:30 West Coast time (5:30 New York time) as part of International Women’s Day. I helped get some of the best women writers/novelists/poets—novelists Judy Juanita and Anya Achtenberg; poets Carol Dorf, Lynne Bronstein et all--who will be reading from around the country between 2 and 3:00 West Coast time (5:00 and 6:00 pm New York time) so check it out. WBAI will be broadcasting from 12:00-7:00 West Coast time (3:00 pm – 10:00 pm New York time) to celebrate International Women’s Day. You can listen to WBAI live on line at http://www.wbai.org/playernew.html
Sunday, February 23, 2014
February 24, 2014 I’d like to thank Diane Lefer, for inviting me to take part in the Writing Process blog tour, where I’m asked by a writer, Diane in my case, to answer four questions about how and why I write, and then I ask other writers to continue writing on their blogs about their process: I’ve just enjoyed reading two of Diane Lefer wonderful novels—Nobody Wakes Up Pretty and The Fiery Alphabet—as well as her award-winning short story collection California Transit Lefer is one of the few fiction writers in the U.S. capturing our contemporary writing, and her work is tremendously exciting to read. After reading Nobody Wakes Up Pretty about the gentrification of a neighborhood the heroine is living in the upper west side of Manhattan, I became aware how exiled I feel when my Hollywood neighborhood is undergoing gentrification and was inspired to write a long poem. Diane blogs: http://dianelefer.wordpress.com/ 1) What am I working on? I just finished a novel about a young woman going to Berkeley in the 1960s showing her transformations from shy, bookish girl to getting arrested in a civil rights sit-in, going to jail. and falling in love. The novel is about first time falling in love during the Vietnam War and also getting pregnant when abortion was illegal. The novel is about transformations, love, politics—and the death of the first friend your age. I also just finished my sixth book of poetry about my brother and mother’s lives as well as my brother’s fourteen year struggle with Parkinson’s and my mother’s growing frailty in her eighties. The poems talk about how my brother is a great father despite his disease and how a family survives the ineptitude of a failing health care system. I’ve written 1/3 of a seventh book of poetry about life and love in 2013-2014 when my college get shot up, when grifters try high technological electronic stealing of one’s identity, and when one can feel exiled when living in a neighborhood undergoing rapid gentrification. I’ve written my first sonnet, a love sonnet. 2) How does my work differ from others of its genre? Many 1960s novels were written in the 1960s or soon after, but mine is written many decades later, so is more concerned with love than with anger. I also write in 3rd person, not first person, and accept my young naïve heroine does make mistakes but learns from her mistakes. Though she has a central conflict with her father, sometimes he is more right than she is. I grew up with a grandmother who loved Tolstoy and Dickens, she taught me to love them too. Though I have, of course, been influenced by early 20th century modernism, I am also inspired by the 19th century novelists like Tolstoy and Dickens who combine personal stories with writing about history or politics. My fifth and sixth books of poetry show the influence of my Whitman and Neruda as I wrote long poems. Most poets these days seems to write short lyrics, but I often have written longer narrative poems often in a chronological sequence as the whole book of poetry is a story in verse in my last three books. My fifth book of poems What Were They Like was inspired by Whitman’s Civil War poetry in “Drum Taps” poems, and I’m in the small minority of U.S. poets to write about the wars of the 21st century. While most poets in the U.S. just write personal lyric poetry, my new poems are not just personal lyrics but try to capture what life is like in 2014 exploring how the personal life is impacted by larger impersonal economic/technological structures. 3. Why do I write what I do? Often to celebrate the life of a person I loved. My first book of poetry was written after my grandmother’s death to celebrate her life and the lives of her remarkable generation of immigrants’ right before World War I. Carl Sandberg asked, “Who do you owe your freedom?” Often the poems try to answer that question, as I certainly owe my freedom to my grandparents, and I wish to rescue their lives from clichés and obscurity. As for the novel, I always wanted to write about the 1960s in order to celebrate the community I felt at Berkeley in the 1960s and which I miss now. Also I was fascinated by dance for decades, and I enjoyed having the heroine develop into a serious dancer/choreographer exploring a path I did not take. From my first book of poetry I’ve been concerned with Camus’s exhortation to neither be a victim nor an executioner (or a silent partner to an executioner). Also I have been inspired by Hannah Arendt’s ideas in Eichmann in Jerusalem that even average humans in evil times can act in ways to recreate a moral world and that the poems attempt to recreate that moral world. I think poetry as well as other arts like jazz or dance can create utopian possibilities to counterpoint to our reality and to imagine a free space in which to live. 4) How does your writing process work? Writing a novel is different than writing a book of poetry. When I’m teaching, and I have been teaching either part-time or full-time the last 24 years, I can write poems in spurts in the odd free hours during the week. Or I’d blogged every Friday morning during the years 2004-2007. Only when I’m pulling the book of poetry together do I make myself work day after day until I’m done. If I am not teaching and am working on a novel, I start work at 9 am, take a short break, then work until lunch, take a lunch break, then work until about 3:00. I like to stay with the characters in the novel almost as if I was living with them day after day. After I finish the manuscript—whether of poetry or fiction—I like to put it away for a while and do something else—chores, see people—totally forgetting about the writing, so when I go back I to the manuscript I can see the writing with new eyes. On March 3, 2014, Vicki Nikolaidis will participate on the Writing Process Blog tour. Vicki Nikolaidis grew up in Iowa but when she realized there were so many warmer places to live in the world, she started traveling. Now she lives on Crete, her dream of an island paradise. After studying writing in Crete, she recently submitted a novella titled Path to Transcendence to The Malahat Review 2014 Novella contest. The novella is the first in a series of three about two characters who have intersecting lives although one lives in the contemporary world and one is from the ancient Mediterranean world. She describes “using the novellas to invent an unknown ancient religion based on creation, not destruction.” She will be participating in Writing Process Blog Tour on March 3 on her blog on Red Room: http://redroom.com/member/vicki-nikolaidis/blog On March 10, 2014, poet Lyle Daggett will participate on the Writing Process Blog tour. Lyle Daggett has been writing poems for 45 years. He is the author of seven books of poems, most recently All Through the Night: New and Selected Poems (published 2013 by Red Dragonfly Press). His poetry is influenced by Whitman, Neruda, and Tom McGrath, and he is one of the few U.S. poets who can write a brilliant long Whitmanesque poem. He has worked for a living mostly sitting in cubicles, talking on the phone and typing on computers. His political activities began at age 14 when he gave a speech against the Vietnam War in his ninth grade English class. His blog is A Burning Patience: http://aburningpatience.blogspot.com/,
Sunday, March 03, 2013
Publication Party: Julia Stein’s 5th book and Lionel Rolfe’s memoir
Skylight Bookstore 1818 No. Vermont Los Angeles Saturday March 30, 2013, 5:00 323-660-1175
Julia Stein’s poems in What Were They Like? look at lives—Iraqi lives, Afghan lives, and U.S. lives—caught up in the Iraq and Afghan. wars. Her book is inspired by Whitman’s “Drum-Taps,” poems the Civil War. At the end the Stein’s poems imagine peace and healing. Stein writes as if Whitman met up with Sumerian myths by way of Hemingway.
What Were They Like? is Julia Stein’s fifth book of poetry. From the feminist poetry work of her first book Under the Ladder to Heaven (1984) to the love poems and poems about teaching in SouthCentral during the 1992 troubles in Walker Woman (2004), Stein’s poetry ranges from love lyric to explorations of war, peace, women’s lives, and work.
Rolfe grew up in Los Angeles; his mother Yaltah was a concert pianist and the sister of the famed violinist-prodigy Yehudi Menuhin. His first book The Menuhins: A Family Odyssey, in 1978. He has written Literary L.A., which is now the basis of a film titled Literary LA about Los Angeles writers. In the early 90's Rolfe co-researched and co-wrote Bread and Hyacinths: The Rise and Fall of Utopian Los Angeles, on turn-of-the-century urban politics and the life of Socialist politician Job Harriman.
I’m doing readings for my new book “What Are They Like?” from S.F. to Los Angeles but if you can’t get to the readings
you can order Julia Stein’s books directly from CC.Marimbo by emailing or writing to us at our post office box. “What Were They Like?” is $14. C.C. Marimbo also has “Walking Through a River of Fire:
100 Years of Traingle Fire Poetry” edited by J. Stein for $12. And C.C. Marimbo has a website and has page for Triangle fire book and will shortly put up info on “What Were They Like?
P.O. Box 933
Berkeley, CA 94701 U.S.A. email@example.com