LONELINESS

          Suddenly
                       on the boardwalk

San Diego

           sunglasses scratched

                       in a booth—
                                   not wanting to eat
                       outside

it’s okay
it’s okay

           In Ralph’s
                       buying a repast

walking the long curved wall
           to the elevators

                                   at the registration desk

REPHRASING

When a sound is my shut-down computer refusing
            to shut down
                  it irritates
When I realize it is the rain
            still rushing through the gutters
                   I forgive it—
            glad to be alive to hear it
                   this peaceful Saturday

A WILLINGNESS TO TEACH ANYTHING PROVIDED....
APPARPO*3130	DESIGN/POETRY FOR APPAREL DESIGN II
ARCHPO*2108	URBAN DESIGN PRINCIPLES & POETRY
APPARPO*3130	DESIGN/POETRY FOR APPAREL DESIGN II
ARCHPO*2108	URBAN DESIGN PRINCIPLES & POETRY
ARCHPO*2152	STATICS & STRENGTH OF POETRY MATERIALS
ARCHPO*2154	WOOD, STEEL & POETRY
ARTEPO*656G	CONTEMPORARY ISSUES IN ARTS EDUCATION & POETRY
CERPO*4108	POTTERY/POETRY
DMPO*7012	EMERGENT DIGITAL POETRY
DMPO*7013	ROBOTICS & POETRY
DMPO*7157	3D RAPID POETRY
FAVPO*5110	DOCUMENTARY POETRY PRODUCTION
FAVPO*5111	PUPPET POETRY ANIMATION
LAELPO*LE54	TIME, LIGHT, SOUND & POETRY
FURNPO*2504	LINES IN SPACE: FURNITURE WELDING & POETRY
LAELPO*LE26	HISTORY OF FURNITURE AND POETRY
FURNPO*247G	GRAD FURNITURE POETRY SEMINAR: METHODS, MEANS, MOTIVATIONS
GLASSPO*4304	BEGINNING HOT GLASS POETRY WORKSHOP
GLASSPO*4324	INTERDISCIPLINARY CASTING AND MOLDMAKING FOR POETS (STUDIO)
GLASSPO*450G	ADVANCED CRITICAL ISSUES IN POETRY AND GLASS SEMINAR 1
GRAPH*3211	COLOR & POETRY
GRAPHPO*3263	PRINTED POETRY BOOKS
GRAPHPO*3283	VISUAL POETRY
ILLUSPO*5203	POETRY WRAPAROUNDS
ILLUSPO*5204	PEN/INK/POEM/SCRATCHBOARD
ILLUSPO*5211	ANATOMY OF POETRY
ILLUSPO*5223	MASTER POETRY WRITING TECHNIQUES
ILLUSPO*5224	MIXED MEDIA POETRY
ILLUSPO*5233	XX/XY + POETRY
ILLUSPO*5239	MOVIE POSTERS & POETRY
ILLUSPO*5259	THE MAGIC OF POETRY
ILLUSPO*5280	PROPAGANDA POETRY
ILLUSPO*5284	DRAWING WITH POETRY
ILLUSPO*5304	THREE-DIMENSIONAL KINETIC POETRY
ILLUSPO*5305	PASTEL, GOUACHE & POETRY
ILLUSPO*5234	POETRY FOR ILLUSTRATORS
ILLUSPO*5237	WHAT’S YOUR METAPHOR
ILLUSPO*5256	ADVANCED COMIC BOOK POETRY
ILLUSPO*5309	EXPLAIN IT IN POETRY
IDPO*2451	METAL/POETRY I
IDPO*2490	LEGAL BUSINESS POETRY PRACTICE
IDPO*4701	CAMS, SLIDERS-CRANKS, POETRY, AND KINEMATIC LINKS
LAELPO*LE38	HISTORY OF POETRY DESIGN
INTARPO*2306	MODELING THE POEM
INTARPO*2307	BUILDING SYSTEMS INTERFACE IN POETRY
INTARPO*2315	BUILDING MATERIALS EXPLORATION THROUGH POETRY
INTARPO*2353	INTRODUCTION TO POETRY LIGHTING
INTARPO*2374	HUMAN FACTORS IN POETRY
INTARPO*2379	INVESTIGATING INTERIORITY
LDARPO*2253	POETRY, PLANTS AND DESIGN
LDARPO*2291	PRINCIPLES OF PROFESSIONAL POETRY
LDARPO*224G	POETRY ETHICS
LDARPO*223G	ISSUES IN PLANNING & CULTURAL POETRY
LDARPO*W213	TOPICS IN LANDSCAPE POETRY
ARTHPO*C518	POETRY & HOUSING IN AMERICA
ARTHPO*H503	THE VIKINGS & THEIR POETRY
ARTHPO*H511	EARLY CHRISTIAN POETRY
ARTHPO*H513	ARCHITECTURE AND POETRY IN THE PRE-MODERN MUSLIM WORLD
ARTHPO*H533	THE POETRY OF THE RENAISSANCE
ARTHPO*H573	POETRY & TOTALITARIANISM
ARTHPO*H575	GREEK & ROMAN POETRY
ARTHPO*H591	JAPANESE POETRY
ARTHPO*H594	EUROPEAN BAROQUE POETRY
ARTHPO*H687	MANET AND POETRY
ARTHPO*H689	SHAKER POETICS
ARTHPO*H697	THE PERSISTENCE OF POETRY
ARTHPO*H700	DISPLAYING POETRY: 1650 TO 1950
ARTHPO*H702	AN ANTHROPOLOGY OF DRESS AND POETRY
ENGLPO*E553	ADVANCED POETRY WRITING WORKSHOP
ENGLPO*E646	POETRY SEMINAR
ENGLPO*E514	CONTEMPORARY AMERICAN POETRY

INTERSECTIONS

Meetings.
Difficulties.
Crossovers.
Connections.
Joints.
Exits.
Entrances.
Arrivals.
Wrists.
Interfaces.
Networks.
Greetings.
Swivel.
Clinch.
Jump!

LOVELY WORK

First line: beautiful, urgent
Second line: excellent
Third line: interesting, puzzling
Fourth line: interesting, puzzling, beautiful sound
Sixth line: out of this world beautiful
Seventh line: weak

First line of second stanza: beautiful, simple, rich
Second line: okay, interesting, clear
Third line: weak
Fourth line: not bad
Fifth and sixth lines: clunky

These are my impressions, though you may disagree.

TO DO

Perfume.
Vitamins.
Sunglasses.
Lipstick.
Wine.
Bach cello suites.
Lucille Ball/Kenneth Rexroth biographies.

THE DAY

                                             Himalayan peaks
                                         Smith Street
                                 cucumber slice
                                 44 West again
                                     silver-grey light
                                         my intersection my traffic-light

            A POEM

            a slim father
                carries a small
                    child
                       &
                a little girl
                         in a green coat
            walks by
                              his left side
                       &
                                          a taller boy
                         on his right
                       &
     they wash
                slightly from him

                    the girl
                       &
                           the boy
                                          toward the
                       torn
                chicken-wire fence
                       &         the
                             tangled grass
                       &
     he
                stepping back slightly
                       re-
                             leasing them
                       &
    they       moving forward slightly
                       de-
                             taching from him
                       & then
                              each
                                          letting go the
                                               other

                           then the space
                              in between
                       & the children
                                   gather speed     tumbling
                            toward school
   the father
                     standing    watching

                           then lifting
                       the baby closer
                  picking up their morning

                       he turns

INTERMEZZO

daniel sits on stage & talks the
audience moves like fish-scales like city lights
like alka-selzer
jiggling
a student checks her camera the double-bassist
tends the bass
a drummer kneels above the drums
a man removes a monitor
another lifts a what is it easel
3 easels lifted on the stage
a student curling cable
the double-bassist zips
his instrument a child inside an anorak
the storyteller talks
to someone in the aisle
a bald man dangles off the stage
don draws a line
of monitors robert unfolds
the drop-cloth
2 students pull a roll of tape
robert makes great Xs
tapes the drop-cloth down
there’s yo-yo chewing gum he’s shining
chatting conferring maybe
a man is hugging yo-yo
yo-yo takes a seat
& daniel says the
aesthetic choice is about the
shutter speed a woman drinking from a bottle
students carry paint cans
don is smiling
& later yo-yo chuckles
this is a machine i built says daniel
& the energy is the music
it starts w/ the camera
b/c that’s where it starts,
but it doesn’t need to
students carrying huge canvases onstage
people talking in the audience
mairéad writing
yo-yo leaning forward on the seat in front
robert shaking paint
the paint is runny
ko laughing holding up his shakuhachi
i guess
so this is multi-tasking sizzling familiar
territory don tapes the drop cloth
robert hauls a bucket of paint
& shifts the roller in the tray
a student pours out paint
like ink
john terry surfaces in shirtsleeves & vest
reid hitt leaves
not hearing robert say you know
i didn't listen
to a word that daniel said
because i was engaged
with all of
this

SOLID RELATIONSHIPS

AT&T
Bank One
State Farm
American Honda
Rhode Island Housing & Mortgage Finance Corp.
Verizon
Sallie Mae
Capital One
AT&T Universal


HIGH MAINTENANCE

New England Gas


MORE OF A CASUAL THING

Providence Water
Narragansett Bay Commission


ALWAYS ON VALENTINE'S DAY

IRS


DARK HORSES

MBNA America


KEEPERS

Citizen’s Bank


ABOUT TO BE DUMPED

T-Mobile


WHY BOTHER

Healthmate Coast-to-Coast
Delta Dental
Medicare/Fica
Social Security


TO DIE FOR

TDI


MY HERO

Paul J. Tavares


COMPULSIVE FLINGS

Poetry contests

RE: ROYAL NOTIFICATION

Dear Mr. Hunts,

Thank you for letting me know about the 750,000.00 USD I have won as a share in the total prize cash of 22,500,000.00 USD randomly distributed among Thirty (30) international winners selected by the Royal International Lottery Promotion Random System Selection (LRSS). It's amazing because very good news rarely comes by email. Usually you get big fat letters in the mail, or by Fedex or priority delivery. That's been my experience anyway. It's all the more amazing as it seems I have email to thank for winning the prize in the first place as you say all participants were selected through a computer ballot system drawn from 25,000 names/ email issued from Australia, New Zealand, America, Europe, North America and Asia, as part of our International Promotions Program, conducted yearly. And my email was selected as the 25th winner out of that 25,000. It's just amazing. What email do you mean? I write so many of them. Or do you mean my email address?

I don't think I will contact Mrs. Pamela Connelly, of your Claims Unit Department, as I am just going to bed now. I hope you don't mind me posting this on my blog.

Sincerely,

Mairead Byrne

URGENT

Dear Sule Ahmed,

Although I have several outstanding notifications regarding large amounts of money, I am responding to yours immediately in deference to your subject line.

Congratulations on your discovery of the abandoned sum of US$18.5 (EIGHTEEN MLLION FIVE HUNDRED THOUSAND U.S DOLLARS) in your bank. I would offer my condolences to the family of the foreign customer whose account this was, but you say that his entire family died along with him in the plane crash in Kenya. I'm sure someone is deeply shocked however. My condolences to them. We don't always know the effect catastrophes have on those even indirectly concerned.

Of course your main concern is the straight eighteen million five hundred thousand U.S. dollars. I understand that. However I cannot help you. I don't know who has been circulating my name as someone who can help in cases like this. I can't tell you how many propositions involving huge amounts of money I've got stacked up in my email account. Last time I checked I didn't have a shingle on my house offering financial advice. It would be pure charlatanism if I did because I don't know anything about money except I haven't got any. Maybe that's what this is all about. Maybe I'm on a list of people who don't have any money. Is that it?

I can understand your reluctance to have the money go into the Bank Treasury as an unclaimed bill. Life is not fair, no doubt about it. Still I cannot offer you use of my bank account, which is very small and threadbare and only capable of holding my wages for a few short hours a month between their time of arrival and their time of call-up to the relentless and ever-speedening duty of paying bills.

Why then, being so poor, would I not jump at the chance of 30% of eighteen million three hundred thousand U.S. dollars? I am too weary to jump. I need to jump at the chance of summer teaching or a second or third job, which chances are considerably more proximate than Nigeria and just as urgent to me, but my jumping days are over.

Somebody else may be able to facilitate you, in view of your prospective visit and assurance that this transaction is "hitch and risk free" and that there is no need to entertain an atom of fear. I like your use of language. As there will be no need ultimately for me to keep this transaction TOP SECRET I hope you don't mind me posting this to my blog.

Sincerely,

Mairead Byrne

ON YO-YO MA & THE SILK ROAD PROJECT AT RHODE ISLAND SCHOOL OF DESIGN APRIL FOOL’S DAY 2005

Three days after Bob Creeley died Yo-Yo Ma & the Silk Road Ensemble played & interplayed in Providence. Bob said Onward & Yo-Yo said Outward, well Bob sort of growled & Yo-Yo joked, and then went deep & musicians & poets flooded keyboards & microphones saying Thank you Thank you.

The musicians of the Silk Road Ensemble sat onstage in the RISD Auditorium.
Kojiro Umezaki introduced them by name and instrument. Kojiro: shakuhachi, Yang Wei: pipa. One musician had an instrument that looked like a very old pomegranate might look if it grew 27 pipes upward. Shane Shanahan's percussion instruments shone; like all the instruments, they fell on the far side of familiar, as if dreamt, as if lacking crucial parts like sides, or bellies or strings. The instruments came from far back and, like the musicians, from many points. The musicians picked up these instruments and the audience picked up these musicians with these instruments and turned over into the deep sound musicians and instruments produced.

One of the musicians, a visual artist from Azerbaijan, made music from visual images. He made a girl made of graphite or ink dance. He wrote the name of Allah in Persian. We watched his moving hand write poetry.

A woman from Hong Kong came to the microphone remembering her parents’ origins in China and their economies of survival: the silk worm farm of her father, where nothing was wasted, where the silk worms unwound from their long silk were broiled and snack upon, and the droppings of the silk worms used for the fish in the fish farm next door, tended by her mother—or was it the other way round--mother and father in any case drawn up side-by-side, laboring, propagating, doing what was logical to survive. And the daughter holding their memories & the taste of silkworms like a vital organ & shouting it out like art. And Yo-Yo Ma said In your honor we will call it the Silk Worm Project today.

FREE & OPEN TO THE PUBLIC

Kenneth Goldsmith at RISD Tues April 5th 7pm College Building 412
(College Building is at the corner of Benefit Street and College Street)

KENNETH GOLDSMITH, author of THE WEATHER,
Make Now 2005 (transcription of the one-minute
weather forecasts on a New York all-news station
over the course of one year, 2002-2003); DAY, The
Figures 2003 (retyping of the Friday, September 1st,
2000 issue of the New York Times); SOLILOQUY, Granary
Books 2001 (transcription of every word uttered by
Goldsmith over the course of a week); FIDGET, Coach
House Books 2000(transcription of the poet's every
physical gesture over a 13 hour period); editor of
I'LL BE YOUR MIRROR, Carroll & Graf 2004 (the first
comprehensive collection of interviews with Andy Warhol);
director of UbuWeb (www.ubu.com); and RISD graduate in
Sculpture (1984), will be reading at Rhode Island
School of Design on Tuesday April 5th at 7pm. He
claims to be "the most boring writer that has ever lived."
It ain't true.

LIGHT IN MARCH

snow white
golden-blue


blue-gold
blue-white yellow-gold


blue-whitegold
golden-light-blue
dull silver rain
light gold-blue
blue-gold
grey
light snow




gold-blue


blue-sunny
light-blue-silver
light blue-silver
pale blue-yellow
blue-silver
silver-grey




olive-white gold
dull grey soft
thawing snow
tarnished silver, rain


grey-silverwhite
blue-gold fresh-cold
golden
silver-grey