<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Comrades--<div><br></div><div><br></div><div>Our first meeting is <b>Friday the 18th </b>and all, as ever, are welcome. The session is from 3-5 in Rm 116 of the Whitney Humanities Center. But let me also take a moment to say we have a blog: <a href="http://wgcp.wordpress.com/">http://wgcp.wordpress.com/</a></div><div>Coming soon: the WGCP twitter feed! </div><div><br></div><div><br></div><div><b>Photocopies of Marjorie are now available on the bookshelves (across from the door) in Rm. 116 of the Whitney Humanities Center. These are free to anyone who believes that they can make one if not both upcoming sessions devoted to her work.</b></div><div><br></div><div>But since we're also interested in poetics, I'll offer some links to Welish's essays and articles to help contextualize her thinking.</div><div><br></div><div>Here is a piece about her interest in poetry and painting and how she moves between the two practices.</div><div><a href="http://www.asu.edu/pipercwcenter/how2journal/archive/online_archive/v2_1_2003/current/in_conference/resisting-type/welish.htm">http://www.asu.edu/pipercwcenter/how2journal/archive/online_archive/v2_1_2003/current/in_conference/resisting-type/welish.htm</a></div><div><br></div><div>Also, here is a link to a piece Welish has written on Barbara Guest. Given that Guest was also writing in the vein of the "abstract lyric" and was also deeply invested in painting, Welish's piece offers insight into her own work as well.</div><div><a href="http://jacketmagazine.com/36/guest-welish.shtml">http://jacketmagazine.com/36/guest-welish.shtml</a></div><div><br></div><div>And here is a link to pages from a recent artist book collaboration that Welish has done with the artist James Siena entitled <i>Oaths? Questions?</i>. Given the group's ongoing interest in ways that boundaries between genres and disciplines can be blurred, this seems like an important piece to look at for our upcoming discussion.</div><div><a href="http://www.granarybooks.com/pages.php?which_page=page_details&which_detail=465">http://www.granarybooks.com/pages.php?which_page=page_details&which_detail=465</a></div><div><br></div><div><br></div><div>About the project, Welish writes:</div><div>"With <em>Oaths? Questions?</em> the object is not so much a book as
the functions of seeing and reading distributed back and forth across
pages. From the outset the conception was that transparent pages
interleaved text to be read as legible if unintelligible against the
opaque pages of art—unintelligible, that is to say, until the reader
turns the page in the course of handling the book. To find that what was once graphic print is now
poetry now to re-focus from seeing to reading; to read the poetry is to
refocus from the obstructed construct of art seen through a verbal
screen to language excavated or broadcast from the surrounds. The art
that is my own, deriving from a painting done decades ago, now operates
to deform its own grid; the poetry considers writing as repetition. But
with James Siena as my cohort in visual/verbal mischief, the interplay
in words and images, both by both, is decidedly enriched in the
exchange with someone whose similarly tactical head-space differs from
mine in its moves." </div><div><br></div><div>Here is Welish's article on Raymond Queneau:</div><div><a href="http://www.bostonreview.net/BR31.4/welish.php">http://www.bostonreview.net/BR31.4/welish.php</a></div><div><br></div><div>Also here is an interesting brief essay on Welish's work by WGCP Fellow Zack Finch:</div><div><a href="http://bostonreview.net/BR29.6/finch.php">http://bostonreview.net/BR29.6/finch.php</a></div><div><br></div><div><br></div><div>See everyone on the 18th.</div><div><br></div><div>Richard Deming, Co-coordinator</div><div><br></div></body></html>