Thursday, October 02, 2008




The Pickwick Papers by Charles Dickens: CHAPTER XIII SOME ACCOUNT OF EATANSWILL; OF THE STATE OF PARTIES THEREIN; AND OF THE ELECTION OF A MEMBER TO SERVE IN PARLIAMENT FOR THAT ANCIENT, LOYAL, AND PATRIOTIC BOROUGH
...With these words Mr. Pickwick descended to the parlour, where he found breakfast laid, and the family already assembled. The meal was hastily despatched; each of the gentlemen`s hats was decorated with an enormous blue favour, made up by the fair hands of Mrs. Pott herself; and as Mr. Winkle had undertaken to escort that lady to a house-top, in the immediate vicinity of the hustings, Mr. Pickwick and Mr. Pott repaired alone to the Town Arms, from the back window of which, one of Mr. Slumkey`s committee was addressing six small boys and one girl, whom he dignified, at every second sentence, with the imposing title of `Men of Eatanswill,` whereat the six small boys aforesaid cheered prodigiously.

The stable-yard exhibited unequivocal symptoms of the glory and strength of the Eatanswill Blues. There was a regular army of blue flags, some with one handle, and some with two, exhibiting appropriate devices, in golden characters four feet high, and stout in proportion. There was a grand band of trumpets, bassoons, and drums, marshalled four abreast, and earning their money, if ever men did, especially the drum-beaters, who were very muscular. There were bodies of constables with blue staves, twenty committee-men with blue scarfs, and a mob of voters with blue cockades. There were electors on horseback and electors afoot. There was an open carriage-and-four, for the Honourable Samuel Slumkey; and there were four carriage-andpair, for his friends and supporters; and the flags were rustling, and the band was playing, and the constables were swearing, and the twenty committee-men were squabbling, and the mob were shouting, and the horses were backing, and the post-boys perspiring; and everybody, and everything, then and there assembled, was for the special use, behoof, honour, and renown, of the Honourable Samuel Slumkey, of Slumkey Hall, one of the candidates for the representation of the borough of Eatanswill, in the Commons House of Parliament of the United Kingdom. Loud and long were the cheers, and mighty was the rustling of one of the blue flags, with `Liberty of the Press` inscribed thereon, when the sandy head of Mr. Pott was discerned in one of the windows, by the mob beneath; and tremendous was the enthusiasm when the Honourable Samuel Slumkey himself, in top-boots, and a blue neckerchief, advanced and seized the hand of the said Pott, and melodramatically testified by gestures to the crowd, his ineffaceable obligations to the Eatanswill GAZETTE.

`Is everything ready?` said the Honourable Samuel Slumkey to Mr. Perker.

`Everything, my dear Sir,` was the little man`s reply.

`Nothing has been omitted, I hope?` said the Honourable Samuel Slumkey.

`Nothing has been left undone, my dear sir--nothing whatever. There are twenty washed men at the street door for you to shake hands with; and six children in arms that you`re to pat on the head, and inquire the age of; be particular about the children, my dear sir--it has always a great effect, that sort of thing.`

`I`ll take care,` said the Honourable Samuel Slumkey.

`And, perhaps, my dear Sir,` said the cautious little man, `perhaps if you could--I don`t mean to say it`s indispensable-but if you could manage to kiss one of `em, it would produce a very great impression on the crowd.`

`Wouldn`t it have as good an effect if the proposer or seconder did that?` said the Honourable Samuel Slumkey.

`Why, I am afraid it wouldn`t,` replied the agent; `if it were done by yourself, my dear Sir, I think it would make you very popular.`

`Very well,` said the Honourable Samuel Slumkey, with a resigned air, `then it must be done. That`s all.`

`Arrange the procession,` cried the twenty committee-men.

Amidst the cheers of the assembled throng, the band, and the constables, and the committee-men, and the voters, and the horsemen, and the carriages, took their places--each of the twohorse vehicles being closely packed with as many gentlemen as could manage to stand upright in it; and that assigned to Mr. Perker, containing Mr. Pickwick, Mr. Tupman, Mr. Snodgrass, and about half a dozen of the committee besides.

There was a moment of awful suspense as the procession waited for the Honourable Samuel Slumkey to step into his carriage. Suddenly the crowd set up a great cheering.

`He has come out,` said little Mr. Perker, greatly excited; the more so as their position did not enable them to see what was going forward.

Another cheer, much louder.

`He has shaken hands with the men,` cried the little agent.

Another cheer, far more vehement.

`He has patted the babies on the head,` said Mr. Perker, trembling with anxiety.

A roar of applause that rent the air.

`He has kissed one of `em!` exclaimed the delighted little man.

A second roar.

`He has kissed another,` gasped the excited manager.

A third roar.

`He`s kissing `em all!` screamed the enthusiastic little gentleman, and hailed by the deafening shouts of the multitude, the procession moved on...




welcome autumn with the The Laugh-Out-Loud Cats

Wednesday, October 01, 2008



Campbell's Soup, the only Standard & Poor's 500 stock that went up yesterday...

Tuesday, September 30, 2008

Monday, September 29, 2008


Harper's passive, fearful Canada
"Risks, threats and dangers dominate Stephen Harper's campaign rhetoric. His Canada is a country whose citizens worry about teenage killers; oil-hungry foreigners prowling their Arctic waters; terrorists lurking in their cities; and economic shock waves rolling toward them.

There is a grain of truth in these images. Canadians are bracing for a recession. A Russian mini-submarine did launch a mission to claim the North Pole this summer. The rate of violent youth crime went up slightly in 2006. And no country is immune to terrorism.

But there is also a great deal of exaggeration.

Very few Canadians will ever come in contact with a homicidal minor; 85 young people were accused of murder in 2006 (the latest year for which statistics are available). Homicide constitutes 0.05 per cent of youth crime. Overall youth crime has been declining steadily for two decades.

Most of the "terrorist conspiracies" detected in Canada have looked pretty amateurish. The first suspect convicted under Canada's anti-terrorism law in a Brampton court yesterday was too inept to pose much of a threat. This is not to say a suicide bombing, hijacking or anthrax attack couldn't happen here. But cowering has never been the Canadian way.

Undersea military activity isn't what scares most northerners. Their biggest concern is the rapid melting of the polar ice cap. Their homes, roads and communities, built on permafrost, are buckling and sagging. The entire Arctic ecosystem, and the life it supports, is in danger.

There is also a huge blind spot in the Conservative leader's vision.

Harper fails to see Canadians as a people who pull together in hard times. He is oblivious to the work millions of public-spirited citizens are doing in their communities to solve problems and create opportunities.

This is reflected in his approach to everything from crime to economic policy.

Those unregenerate 14-year-old criminals he proposes to lock up for a decade were troubled kids when he came to power. Their teachers had spotted the danger signals. So had welfare caseworkers, community activists and beat cops. They had tried to help, but were hampered by too few resources and too little political support.

Harper acknowledged this week that broken families and deprived neighbourhoods can contribute to "delinquent behaviour." But he insisted that coddling young offenders doesn't work. Harsh discipline does.

That might make anxious voters feel better. But it won't divert preteens from heading down the same path. And it won't provide much real protection; today's 14-year-old prison inmates will be out on parole at 24.

The "economic certainty" Harper offers voters is merely a leaner version of what exists now.

He is not calling on Canadians to respond to be creative and caring. He is telling them to hunker down.

He is not tackling the structural problems that constrain Canada's growth; its aging infrastructure, overreliance on fossil fuels and shrinking manufacturing base. He says this is no time for "risky experiments."

He is not willing to use the power of the state as a buffer against market forces. All he is pledging to do is keep the budget balanced, taxes low and spending in check.

Some might describe that as "a steady hand on the wheel." Others would call it a damper on the Canadian spirit.

In a tactical sense, Harper's strategy is shrewd. Fear is a powerful motivator. It fits the mood of the times. It is much easier to elicit than hope.

It also lets an incumbent campaign with no virtually no platform. All Harper has to do is shoot down every idea his opponents put forward, a task he clearly relishes.

More than half of the 55 "news releases" on his campaign website denigrate the Liberals ("not worth the risk"), the Bloc Québécois ("never delivers concrete results") and the New Democrats ("out of touch with the concerns of working families").

It is a shame none of the other national party leaders has succeeded in tapping into the nation's better instincts.

It is a double shame Canadians are allowing Harper to set the bar so low..."

Friday, September 26, 2008




congrats to Mark Soo:

"The Vancouver Art Gallery is intensifying its longstanding commitment to emerging British Columbia artists as it continues to build its collection for a new expanded Gallery. At a September 25th press conference, the Gallery announced the Audain Emerging Artists Acquisition Fund, a $2 million endowment that will allow the Gallery to purchase work by British Columbia’s up-and-coming young artists in perpetuity—the largest fund of its kind in the country. The Gallery also announced the first work selected for purchase: Vancouver artist Mark Soo’s photo-based artwork, That’s That’s Alright Alright Mama Mama, 2008.

“British Columbia’s young artists produce some of the most exciting work in the world,” said Vancouver Art Gallery director Kathleen Bartels. “Acquiring work by emerging artists is a major element of our collections mandate and with this generous gift from the Audain Foundation we will be able to pursue it more aggressively than ever. Mark Soo is among the most talented visual artists living in the region and we are pleased to announce his work as the first to be selected for purchase with the fund...”

I was privileged to work with Mark on the soon to be released
To the Dogs

which will be, despite my involvement, the best dog photo book ever published...

Wednesday, September 24, 2008



A reminder about two upcoming readings by George Stanley, author of Vancouver: A Poem.

1. George is reading at Simon Fraser University Library this THURSDAY, SEPTEMBER 25, at 12:30 pm, along with Indran Amirthanayagam.

2. On THURSDAY, NOVEMBER 6, George will be at the Squamish Public Library, 37907 2nd Avenue in Squamish (natch), at 7 PM...


WHAT: SUBTEXT READING - Donato Mancini & Shin Yu Pai
WHERE: CHAPEL PERFORMANCE SPACE - 4th Floor of GOOD SHEPHERD CENTER, located at 4649 Sunnyside N, just south of 50th St in Wallingford SEATTLE
WHEN: 7:30 PM, WEDNESDAY OCTOBER 1, 2008
TICKETS: Donations accepted at the door

Subtext continues its monthly reading series with readings by DONATO MANCINI & SHIN YU PAI at Chapel Performance Space as part of the Wayward Music Series on the 1st of October 2008. Donations for admission will be taken at the door on the evening of the performance. The reading starts at 7:30pm.

DONATO MANCINI is author of two books of poetry Ligatures (2005; shortlisted for a ReLit award) and Æthel (2007), both from New Star Books.

Long after his first published poem "Empty Page" appeared in the second-last issue of The Canadian Forum (1920 - 2000), Donato started his real writing life as a full-time contributor to the classical music division of allmusic.com (then called allclassical.com). Over the course of 2.6 years, he sold allclassical.com at least 685 entries about pre-Baroque and 20th century music, at 5 to 10 cents per word.

In the time since, Mancini has published numerous chapbooks, including Tribute to a Remarkable Cat/Two Hearts Beat as One (Access 2002), 9-11/7-Eleven (Open Space 2004), Floating World (Burning Cradle 2004), Causal Talk: Interviews with 4 Canadian Poets (above/ground press 2004), and no.22 in the "Hell Passport" series published by Perro Verlag (2007).

His own artworks have appeared variously in almost all of the artist-run centres around Vancouver, most notably Surveillance Sketch at Artspeak in August 2003, first of the gallery's now-annual windowfront exhibitions. A member of the Kootenay School of Writing collective since June 2003, he has created and edited an archival website to house audio recordings and documents from the KSW stretching back to 1985. He is now also editor of the Canadian section of the Electronic Poetry Center, with Meredith Quartermain.

In a previous life, Donato studied art history and music composition with Christopher Butterfield and Michael Longton at the University of Victoria, where Butterfield often enough gave live performances of Kurt Schwitters' Ursonate as his lessons. An English Literature MA student as Simon Fraser University, Donato is at work on a study of the ideolect of poetry reviews in Canada since 1961.

SHIN YU PAI is the author of Haiku Not Bombs (Brooklyn Artists Alliance), Works on Paper (Convivio Bookworks), Sightings: Selected Works [2000 - 2005] (1913 Press, 2007), The Love Hotel Poems (Press Lorentz, 2006), Unnecessary Roughness (xPress(ed), 2005), Equivalence (La Alameda, 2003), and Ten Thousand Miles of Mountains and Rivers (Third Ear Books, 1998). In addition to her work as a poet, Shin Yu has exhibited her visual work at The Paterson Museum, The Dallas Museum of Art, The MAC, and The Three Arts Club of Chicago. She has collaborated with individual artists and groups as diverse as Hedwig Dances and the Hudson Exploited Theater Company. She received her MFA from the School of the Art Institute of Chicago, with additional graduate level studies conducted at The Naropa Institute where she received the Hiro Yamagata and Zora Neale Hurston Scholarships. Currently, she lives and works in Seattle.

The future Subtext schedule is:

December 3, 2008 Brenda Iijima (NY) & Brian Carpenter (Philadelphia)
January 7, 2009 Kristen Loree & Jack Ox (both New Mexico) performance of Kurt Schwitters’ Ursonata (co-presented by nonsequitur)
February 4, 2009 Laynie Browne (Tucson AZ) & Michael Cross
March 4, 2009 Laura Moriarty (Bay Area) & John Marshall
April 1, 2009 TBD
May 6, 2009 Beverly Dahlen (Bay Area) & Ezra Mark

For info on these & other Subtext events, see our website at http://subtextreadingseries.blogspot.com

More info at Wayward Music Series web site: http://www.waywardmusic.blogspot.com
Details on the Chapel at http://gschapel.blogspot.com

THANKS to the WAYWARD MUSIC SERIES, NONSEQUITUR, and POETS & WRITERS for co-sponsoring this event.

ROCKSBOX is proud to present:

Friendlier Fire
New work by Bruce Conkle
Saturday, September 27, 2008 – Sunday, October 26, 2008
*Opening reception for the artist: Saturay, September 27, 2008 | 7-11 p.m.



Bruce Conkle- stalwart of the revolution! Bruce Conkle- de facto king of the Pacific NW eco-art-geeks! ROCKSBOX is pleased to announce 'Friendlier Fire' an exhibition of the prime-evil, using the primordial poop of the earth and the detritus of our caffeine fueled society hell bent on self-destruction. Bruce Conkle has had numerous exhibitions in such places as New York, Philadelphia, the Living Art Museum in Iceland, A Gentil Carioca in Rio de Janeiro, and is currently showing 'Eco Tankers' at the State University of New York at SUNY Oswego.

ROCKSBOX is located at 6540 N. Interstate Ave. @ Portland Blvd. | Rosa Parks Way
Directly across from the Northbound Yellow Line MAX stop.
All exhibitions are free and open to the public.
ROCKSBOX gallery hours are: Saturday-Sunday 12-6 p.m. or by appointment.
Further information is available from Patrick Rock @ email: rocksbox@comcast.net
Or Bruce Conkle @ email: bruce@bruceconkle.com & ph: 503.544.5121

Tuesday, September 23, 2008











Local trees

old essay on The Simpsons from hermenaut, the first great thing I ever read on the web--
"Two friends are relating an episode (in the sense of event, not television episode, but the overlap is fortuitous, watch) from the other night. This episode could well be described as "suburban surreal" or simply "weird," but one friend declares it to have been "just like The Simpsons." "Yeah," says the other friend. "It was just like that."

But what does this mean? The Simpsons moves largely from allusion to allusion; it therefore contains multitudes. So unless these friends meant to underscore the cartoonish or allusive aspects of the scene they described, their statement made no sense, referred to nothing—because everything is like The Simpsons.

This loss of a referenceable reality will, in all likelihood, eventually destroy our civilization; and when the Northern peoples picking through the rubble of our cities want to know when it all went wrong, I—my face singed and deformed by the radiation, my limbs charred, missing, askew, my voice hoarse, mad, and haunted—I will tell them: 1995. That is when the overlords at Fox decided to put The Simpsons into twice-a-day syndication..."

(you have to search)


via (sort of)

Monday, September 22, 2008


farewell to unsung hero Earl Palmer

"An ever-adaptable, jazz-rooted drummer esteemed by Shelly Manne and Charlie Watts, Palmer made a distinctive contribution to innumerable records, among them Nat Cole's Ramblin' Rose, Little Richard's Tutti Frutti, Elvis Costello's King of America, the Righteous Brothers' You've Lost That Lovin' Feelin' and Ike and Tina Turner's River Deep, Mountain High...."


the Peter Culley Home Page is now up at the Electronic Poetry Centre, part of the Canadian Portal that Donato Mancini has put together...





Turner Classic Movie reminder--two Anthony Mann films unseen by me, earlier Jacques Tourneur's "Stars in My Crown" & William Dieterle's "Portrait of Jennie" (w/ Jennifer Jones)...

Ted’s Head, by Rod Smith
"So there’s this episode of Mary Tyler Moore where Ted’s trying to get a raise & after finagling and shenaniganizing he puts one over on Lou & gets his contract changed to non-exclusive sos he can do commercials which is not cool w/ Lou & the gang because Ted’s just a brainless gimp & it hurts the image of the news to have the anchorman selling tomato slicers & dogfood so Lou gets despondent because the contract can’t be rescinded but then he gets mad & calls Ted into his office & says, “You’re going to stop doing commercials, Ted” & Ted says “why would I do that Lou?” & Lou says “Because if you don’t I’ll punch your face out” & Ted says “I’ll have you arrested” & Lou says “It’ll be too late, your face will be broken, you’re not gonna get too many commercials with a broken face now are you Ted?” & Ted buckles under to force & everybody’s happy, except Ted but he’s so dumb nobody cares & everybody loves it that Lou’s not despondent anymore he’s back to his brustling chubby loud loveable whiskey-drinking football-loving ways. Now imagine if Ted were Lou, if Ted were the boss. You know how incredibly fucking brainless Ted is, but let’s imagine he understands & is willing to use force. That’s the situation we’re now in as Americans."


To Autumn - John Keats

"And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours..."

(tho I always read that as "book")

in further moose-related news: Louis Prima: The Call Of The Wildest (1958)


Sunday, September 21, 2008