Is Goodbye Ever A Hello?

for Lottie – and Tiger and Woody
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Can a person say something other than loss?
Is loss ever a gain?
Is goodbye ever a hello?
Is death ever a life you wished it to be?
Is empty ever any more than empty?
Don’t call it full when it’s not.
It’s absence. Total lack of person, of life that was.
Was there ever any life there, you ask when
there’s nothing there.
Is a dog a person?
Is a dog dead?
Is a person dead.
Is there ever any afterlife of either?
Except in memories, memories
that take over and demand the life that gave them birth.
A vanishing, a “not there” that joggles the mind.
What am I thinking about when I can’t see
anything there, anyone there, any living being
there?

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Woody & Tiger

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Lottie & Woody with Lenore

/larry goodell / placitas, new mexico / 14jul2015

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Poetry In The Works

buffalo and others

I celebrate, years after, the great joy of poetry and poetry books created by my students at the University of New Mexico. I was asked to teach poetry workshops about 3 times from 1993 to 1997 and I would have done it every semester of my professional life if I could (stumbling block: lots of graduate work but no Masters).

Here is the description of the course given to students. The requirement was get active through tools of the class in writing your own poems, put together a book of your own work, design it, come up with your own press name and do a minimum of 2 copies, one for me. I set up a public reading near the end of the course in the Student Union Building which was a great event for us, and all the students’ books went on view subsequent to the course in display windows at the SUB. I insisted students experience every phase of the “Poet As Publisher” which has been the essence of my life and many of my poet friends.

Visitors to the class were poets Lance Henson, Maisha Baton, David Seder, Scott Nicolai, Merilene Murphy and others including Keith and Heloise Wilson. Tim Forrest recorded and aired student poems on KUNM-FM.
DSC_0554Poetry Writing Workshop

Larry Goodell, Instructor

This is a hands-on, how-to workshop, with a variety of approaches towards writing poetry and an exploration of some of the predominant styles. We’ll try various exercises and experiments to invigorate writing. We learn the best ways to read our own work aloud. We explore personal expression, humor, seriousness, satire, word-play, and learn what makes a good poem work. The course helps people open up and write what they’ve always wanted to write. We’re all here to encourage. The stress is on variety and enjoyment. We learn how to assemble poems into a small book, how to and where to publish, including tips on how to self-publish.

pianopoems

8 Week Outline

Let’s try to present at least one new poem or piece of writing each week. You can try to put together a small collection of your work in typescript and bound in booklet form.

confessions

1. Journal keeping. “The collage of imaginative discovery.” Common place book, diary, notebook, dreams, fragments.
2. Short poems. “The small is more than the sum of its parts.” Basho, haiku, American haiku, imagism, found poems.
3. Exercising writing. “Doors to the Eternal Muse.” Teasers, props, tricks, timed writing, automatic writing.
4. Finding your style. Where and why do you end a line? Rhymed versus non-rhymed, contemporary American poetry techniques and styles.

stove poetry

5. Finding your local focus. What is Southwestern poetry? Regional poetry? Local focus as source for poetry, specificity and risk, “imagination determined reality.”
6. Finding sources for poems. Memories, events, conversations, dialogues, news, interviews, dreams, journals.
7. Writing story poems. Family history, history is story, your politics as source, investigation and exaggeration, satire.
8. Finding the world in your poetry. Poetry as a gift you can give. Sources of publication, including self-publication extending poetry into community, readings, broadsides, booklets.

Book recommended: New Mexico Poetry Renaissance, Niederman and Sagan, editors. Red Crane $9.95.

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Miles Lessen, Living Dream Publishing Company, 1997

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This is by poet/actor/theater-founder Joe Peracchio, Escapist Press 1993

leather

String by Gabrielle Lilly, amazing production and poems . . . Open Air Press 1993

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One of the anthologies of work assembled thanks to Robert Masterson in conjunction with our public reading, University of New Mexico.

This was a comprehensive shot in the arm of poetry to enable everyone to express and experience a bit of what poetry can offer.

Larry Goodell / Placitas, New Mexico

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Larry’s Website Up and Running

This website which is kind of a “me” factory needed to be converted to html-5 and thanks to the template help at WIX I finally did it. It can only get better and more generous to others. Especially now that Duende Press is breaking through the surface again (after years) . . . please check it out and comment if you’d like . . .meanwhile I’ll continue to poke it along in my slow change way . . . thanks, larryhill from book of ometeotl better

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Thunderbird Bar Intimate History

Many thanks to dear friends who talked about the rise, fluorescence and fall of the Thunderbird Bar in Placitas, New Mexico . . . Love to all of you and appreciation for the great music and intense life drama and camaraderie of those years and that spectacular place with its beautiful setting . . . music and love will always endure . . .

thunderbird inside group brighter pa

from contact sheet of 35 mm film perhaps by Mike Katona

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For an album of about 70 photographs, music flyers, memorabilia please see Thunderbird Bar, Placitas, NM – much love and appreciation to all who contributed.

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Further links! Fantasy Mountain Fair of 1972
Movies In Placitas thank you Susan and John Morgan
Zocalo Theater in Town of Bernalillo
Kell Robertson (who worked, sang & lived at the bar for a time)

Interview in 1995 featuring Steve Katona, Berry Hickman, Peaches Malmud. Recorded on the small Sony Professional cassette recorder by Larry Goodell in Placitas.

1st Part of Interview 
1 Thunderbird Bar of Placitas, New Mexico, late 60’s early 70’s
Thunderbird Bar Intimate History Late 60s Early 70s PART 1 – 50 minutes

2nd Part of Interview with some of the people who ran the Thunderbird Bar in Placitas during its musical and social heyday.
2 Thunderbird When Was This 1971 Steve, Berry, Peaches (1995
Thunderbird Bar Intimate History Late 60s Early 70s PART 2 – 41 minutes

3rd Part of the Interview with the people whe were the main forces behind the phenomenon of the Thunderbird Bar in Placitas, New Mexico
3 Thunderbird The Bar Opened July 4th 1971 Susan Junge, Steve, Berry, Peaches, P. A. Blalock, Bill Pearlman
Thunderbird Bar Intimate History Late 60s Early 70s PART 3 – 33 minutes

love to all, and thank you . . .
Larry Goodell

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Duende Press Resurfaces with Barter Within the Bark of Trees by Latif Harris

barter front coverApril 30, 2015                                              ( a Note from Erin Messer)

Poet Latif Harris’ new collection, Barter Within the Bark of Trees, is just published by Duende Press, Placitas, New Mexico.  It was exactly 50 years ago that Duende published Harris’ first book, Selected Poems 1965 (duende 12).

Barter Within the Bark of Trees examines aging and the tricks memory plays on the instrument of the mind. It is the culmination of both a richly blessed life as well as one of terrible losses and tragedies. The poems sequentially lead to a final, new piece written over the span of just a few months. According to Harris, by far the most profound, essential influence on this work has been his nearly four-decade practice of Vajrayana Buddhism.

Harris grew up in Los Angeles but relocated to San Francisco in 1958 where he joined the Beat scene in North Beach. After studying with Robert Creeley in New Mexico and traveling extensively abroad, Harris returned to Northern California where he collaborated with jazz poet Howard Hart and founded the Bannam Place Reading Series in North Beach in 1983. During the past 20 years he has continued to perform his work at many literary events in the San Francisco Bay Area and beyond. Most recently, he co-edited and published Beatitude Golden Anniversary 1959 – 2009, a comprehensive volume spanning 50 years of Beat literature and poets of the San Francisco Renaissance, as well as those who were influenced by these movements internationally.

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Jack Hirschman speaking with Latif Harris

In his forward to the new collection, Jack Hirschman, San Francisco Poet Laureate Emeritus, says: “The poetry of Latif Harris contains his lifelong serious involvement with Buddhism and death as the heart of the art of the transient journey to the beginning, where the end has already been outlived. This makes for a very mortal work, both confessional and consoling. And in measures that are various, but always with a strong feel for structure and, in that sense, faithful to the classics, no matter the surface ease of his ‘californial texturing’. There is hardly a single poem in his work that is not a praise-song received from his wisdom-school studies on the path.”

Boddhisatva harris

For the reissue of Harris’ previous book, A Bodhisattva’s Busted Truth (now in its second printing), Beat poet David Meltzer wrote: “The poems herein express an amazing range of spiritual searching, a journey articulated with deep precision and heart. Harris joins a lineage of American poet seekers like Whitman, Thomas Merton, and Gary Snyder.”

Latif Harris is available for interview by phone or in person upon request.

Erin Messer, Editor/Archivist    / ecmesser@gmail.com                                    DUENDE_LOGO BST LENORE                   There are review copies.                                                                             larry goodell / placitas, new mexico / duendepress@outlook.com / http://www.larrygoodell.com/

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Inzorbital, by Bill Pearlman, reviewed by John Brandi

Inzorbital cover redone better this

Bill Pearlman, Inzorbital, a novel of high research, the penultimate novel of the 60’s in New Mexico by the then Captain of its universe. 114 pages.

Review of Inzorbital by John Brandi

INZORBITAL with its forever ladder climbing surfboard overdose word & waterrace jetstream verbal rhythmic high makes a terrifying often pleasurablepainkiller ride thru the marl of desert New Mexico crossing america & aslant in the fog of Europe, a language so weird & intense at times that one feels blown thru a jazz sax or high on an acid rage of sex, touching down beyond the football goal with two balls in hand & the head whitely spotlighted, band playing, all the cheerleaders undressed & suddenly so many years orbits joints & songs have been passed that it is no longer possible to ride beginning to end, but to merely run for cover before, as Marilyn Kennedy puts it on the back cover, the “shooting starts”–

I’ve thought twice of Kerouac, a little of Walt & many times over of Jack [Hirschman] & the surrealists since fastly making the pulp, laying it all out before me then letting it eat me up, enclose upon me with all its music & dust & long needles of late Sixty remembrances & the empty orange iceboxes of youth staring me time after time with words & food, mud in the face & baffled girls from Bel Aire swimming pools, nightwashed bums & the dogs of Memphis, you get them all together here, backwards, forwards, empty wards, wild tracks, like Sgt Pepper, backdated, updated, spinning crazily off the track & with a million mouths . . . thanxs Bill, & Duende, for bringing INZORBITAL alive

– John Brandi lives in El Rito, New Mexico, travels a lot, teaches, writes, paints and is a major asset to the poetry and painting life of our state. See John Brandi.

But INZORBITAL blasts off all dimensions in form, laid at first in the New Mexico landscape, it has acid rhetoric peculiar to one Bill Pearlman who came here in the height of the 60’s & wrote about it. There are also choice sections of jock lib stuff, good Oregon passages in the part with the runner Prefontaine sometimes the star.

Anyway INZORBITAL does say some things about the late 60’s in America that have not been said and will probably never be said again. True there are some denser passages in this work, but the vitality is in its fantastic energy, when Pearlman gets going watch out. His his first prose book, it’s a novel of sorts, heretofore undiscovered.

Note, written October 31st, 2014. I don’t believe John Brandi’s review piece has been published and my apologies for not making that happen before, so here it is and it brings back the rush of that book. I printed it on a Davidson Press in Frank Lindsay’s printing shop in the North Valley of Albuquerque. And we had a great collating party to start the year of 1975 right there in the shop. It was a great way to start the new year.

Signed copies with original poem in each $150. Signed copies $35. Regular edition copies are $15. duende press, po box 571, placitas, new mexico 87043 Include $5 shipping. Paypal account: larry goodell larrygood@comcast.net

Larry Goodell / duende press / placitas, new mexico 2014

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Bruce Andrews, 5″ by 7″ Index Card Postcard, 1974

fv 3 cover

Cover of Fervent Valley #3, Spring of 1973, drawing by Peter Karassik

fv 3 table of contents

When I was sending out duende magazines and fervent valley magazines, ’60s & 70’s there were wonderful exchanges through the mail: often other poets’ magazines, notes, artwork, queries offering surprises at the US Post Office we hardly get any more, at least in my digital dominated world . . .

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Here’s a very nice large index card from poet Bruce Andrews he used as a postcard.

Thank you Bruce, after many years, you seem to wrap up your poetics here . . .

bruce andrews card message 1974

“My own interests I guess run more toward stylistic adventuresomeness & the use of language to show its own reality & importance, stressing its non-representational value & interest, its physicality, its ability to create & be its own context & content, & a stress on elements of texture, densities, silence, directionality, balance, rhythm, etc. by organizing language according to those non-representational elements (& not just using them as ornaments to more prettily get the [outside] message across.) Language, our perception of it & its self-reality & possibilities, is the message, for me. Taking this feeling from wherever I can find it: Stein, Zukofsky, Eigner, Coolidge, Palmer, Grenier, Silliman, contemporary art, etc : maybe we could talk about this sometime, since it largely shapes my perceptions & thoughts about what you are doing w/ the magazine. It’s a question of aims, largely.” Bruce Andrews

bruce andrews card frontI at the time was graphically involved in performance of a ceremonial set of poetry, serial poems for presentation before an audience, and I was absorbed in the making of all the items the poems called forth, so, really, I couldn’t have felt more disattached from Bruce’s poetics, as much as I might have been presented them from various publications of the “language” school. The poems I was writing simply forced their necessity on me. The drums of my New Mexico blood just kept beating the poems out. Larry Goodell

/Postcard is from my duende press archives here in placitas, new mexico

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Links to Blog Posts about the Living Batch Bookstore . . .

Living Batch 25th anniversary

1. Living Batch Pieces of History

2. More Pieces of Batch History

3. Geary Hobson reminices about working at the Batch.

4. Patricia Nelson one of the managers expands the history.

5.  Early history: Phil Mayne  who started the Yale Stree Grasshopper which became the Batch adds some comments.

4. A postcard from a lover of bookstores . . .

5. Poetry and Vital Words at the Batch

6. Living Batch Events flyers and posters from Nicole Blaisdell and my flyer collection . . .

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stars chairs cardinals a Poem & Drawing by Kenneth Irby

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Kenneth Irby

stars     chairs     cardinals
the music sung in a corner
at morning     Sunday
rises in the sun’s heat
and goes out to May

all cherish and instruct
each other     we kick
gravel at each other in the driveway
grass blows windward and back

laughing on a hilltop at the top
of afternoon     laughing in a graveyard
’s marble whose chairs we carry
in us and sit watching the stars

in the yard now the cardinals
rise up lark-like from the wire
to the music sung rising from the house
toward late morning     in a Sunday
sun’s May has lifted into heat

– 22May66 Lawrence, Kansas

this appeared as a belated duende broadside in 2006 harkening the powers of the past

duende press box 571 placitas, nm 87043
larrygood@comcast.net

Kenneth Irby (born 18 November 1936) won a 2010 Shelley Memorial Award. He is sometimes associated with the Black Mountain poets, especially with Robert DuncanRobert Creeley, and Ed Dorn.

He graduated from the University of Kansas, from Harvard University with an A.M., and from the University of California, Berkeley with a M.L.S. degree. He was a visiting professor at the University of Copenhagen on a Fulbright grant. Irby currently is an associate professor of English at the University of Kansas.

A colloquium held at the University of Kansas on November 5, 2011 honored Irby’s work, on the occasion of his 75th birthday.

What a joy to publish Ken’s The Roadrunner Poem and later poems too in duende press. duende 4, Kenneth Irby (b. 1936). The Roadrunner Poem. Biographical Sketch by the poet. With a poem for Irby by LG. April 1964. Mimeo 22pp printed both sides.

duende 8, Kenneth Irby (b. 1936). Movements/Sequences (with a note on Irby’s poetry by Robert Creeley). Preface by the author. Cover ink drawing by Joseph Stuart. September 1965. Mimeo 38 pp printed both sides.

Larry Goodell / Placitas, New Mexico

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Gus Blaisdell interviews artist Constance DeJong “That’s beautiful. It leaves the viewer with the infinite.”

blaisdell Ivey collected

Blaisdell, Gus, Constance DeJong: Metal, University of New Mexico Press, 2003

I saw Constance DeJong’s first show of metal paintings and drawings in 1980. I was
immediately impressed, found the subsequent work equally distinguished, and was an
ardent fan until DeJong went underground in 1997. Then she surfaced again this year
with work so remarkably different that l was again struck. What had happened in the
years she had not shown? She had transformed her work, even though presently she is
again working in metal, and not just in terms of materials. There was a new, deepened
center of attention and concentration. What follows is a conversation between the two of
us that concentrates on her work out of the public eye from 1997 to the present. We talk
a bit about zazen, what DeJong calls sitting practice. This is a practice like yoga that
frees the mind for…

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