In March

https://coffeehousepress.submittable.com/submit

http://www.fenceportal.org/?page_id=42

coming up in May

http://blackradishbooks.com/black-radish-books-submissons/

Food

I am looking for material for a course centered on food. If you have any suggestions, please send them my way!

Here is what I checked out yesterday:

* Fast food nation
33247021685019                                              2/26/2016 23:59
* Genetic roulette the gamble of our lives
33247024171371                                              2/26/2016 23:59
* Grow!
33247025268481                                              2/26/2016 23:59
* McDonald's : behind the arches
33247021430978                                              2/26/2016 23:59
* Big river a King Corn companion ; King Corn
33247022843435                                              2/26/2016 23:59
* King corn
33247021772924                                              2/26/2016 23:59
* Fast food nation : the dark side of the all-American meal
33247027819828                                              2/26/2016 23:59
* Food, Inc. : how industrial food is making us sicker, fatter, and poorer-- and what you can do about it
33247024433243                                              2/26/2016 23:59
* The sign of the burger : McDonald's and the culture of power
33247014757098                                              2/26/2016 23:59

[

http://www.beardofbees.com/pubs/A_State_of_the_Union_Speech.pdf

Something to share

http://www.theartblog.org/2016/01/organize-your-own-the-politics-and-poetics-of-self-determination-movements-at-kelly-writers-house-philadelphia/

YESSSSSSSSSSSSSSSSSSSSSSSSSSS! Also, read the Frank Sherlock poem.

YESSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS!

Reading Moby-Dick, Pt. 2

I ran into Elizabeth Schultz last Thursday at a poetry reading at The Raven. She commented on how she didn't enjoy Why Read Moby-Dick because, as she says, "It's all about the whale!"

She is also looking for poems about Moby-Dick for an anthology:

Dear Colleagues--In Moby-Dick, Melville describes his tattooed harpooner, Queequeg, as "a riddle to unfold; a wondrous work in one volume." In this description, Melville challenges readers to try to unfold or understand his own "wondrous work in one volume." Since the Melville Revival of 1930, Moby-Dick continues to inspire a multiplicity and diversity of interpretations and readers—critics, artists, dramatists, cartoonists, politicians, film-makers, dramatists, poets—to use a mosaic of means to respond to his novel.

In the anticipation of publishing an anthology of poems responding to Moby-Dick, we would like to invite poetry submissions of one-to-five pages (this may include several poems or one long poem), totaling no more than 1400 words. So many media offer viable modes of response to Moby-Dick, but perhaps it is in poetry that we might weave most intricately, dive most deeply in response to his novel.

Please send your submissions to Kylan Rice (b.kylan.rice@gmail.com) and Elizabeth Schultz (eschultz@ku.edu) by July 1, 2016.

Novel and Hybridity

"Bhabha includes interpretations of hybridity in postcolonial discourse. One is that he sees hybridity as a strategic reversal of the process domination through disavowal. Hybridity reevaluates the assumption of colonial identity through the repetition of discriminatory identity effects. In this way, hybridity can unsettle the narcissist demands of colonial power, but reforms its identifications in strategies of subversion that turn the gaze of the discriminated back upon the colonist. Therefore, with this interpretation, hybridity represents that ambivalent ‘turn’ of the subject into the anxiety-causing object of “paranoid classification—a disturbing questioning of the images and presences of authority”. The hybrid retains the actual semblance of the authoritative symbol but reforms its presence by denying it as the signifier of disfigurement—after the intervention of difference. In turn, mimicry is the effect of hybridity. First, the metonymy of presence supports the authoritarian voyeurism, but then as discrimination turns into the assertion of the hybrid, the sign of authority becomes a mask, a mockery."

https://en.wikipedia.org/wiki/Hybridity#Hybridity_in_post-colonial_discourse

[

"“Anything has once been memory and can be placed beside anything,” Scalapino writes, or types—the difference is irrelevant here. She might have copied it from Gertrude Stein or Zhuanzi or Thalia Field, or she might have heard it on TV. Set two things next to each other, and they trade traits. ‘Purity’ is hatred, Scalapino reports. We live in a world similar to the one in which Field and Scalapino lived when they wrote these books, and we’ll recognize the world through the language they borrow, steal, and bend to their own ends. Their ends are ours as well."

http://thefanzine.com/the-new-hybridity-bird-lovers-backyard-by-thalia-field-and-floats-horse-floats-or-horse-flows-by-leslie-scalapino/

Novel, cont

Whiteness is a construction build for colonization, domination, and supremacy, much like how Chapter Two follows Chapter One.

Novels

I am still on this kick about novels. Something being a novelty, a disguise for a European-based form of colonizing cultures.

My novel will actually be a disguise for a story told in prose poems, flash fiction, poetic memoir, appropriated non-fiction, conversations real and imagined, maps, letters, histories, primers, historical fictions, Quindaro, Bleeding Kansas, White fear, White privilege, and protection for the vulnerable. It will be a war where all violence is felt, but not shown, in order to not re-injure. It is where the n-word stays as [Negro] when set before the Civil War, because I am not going to be a writer who is a white, straight male and re-injure with that word that rises in my neighborhood faster than the Confederate flags last year.