Call for submissions, Fragments issue, qarrtsiluni.com
I’m serving as co-editor on the upcoming issue of qarrtsiluni! Excited about this issue!
The art of Karen Green. I really really like the ink work, especially fond of Survivor Mice.
…otherworldly hats and crowns along with strange clothing and bird imagery seen underfoot
myriad interesting animals used as mounts … yak, otter, cuckoo bird, water beasts
“Initiation cards” described in Rubin Museum exhibition “Bon: The Magic Word”
Poems from the Office (pdf)
One-Line Poems by Kathryn Born
Of interest because it uses office artifacts to create poems
and because the coffee stain on the front cover is an enso
(or the enso on the front cover is a coffee stain).
This is the only example I’ve found. Probably because
office artifacts are not that interesting as a raw material.
“Why not” is what I’d like to know.
Calendars by Annie Finch
Calendars Study Guide
You could learn everything you need to know about meter & scansion by studying these two books.
From the Mongol Embassy website:
In their many years of nomadic life, the Mongols have developed their own specific techniques of handling livestock. One technique employs toig, a special coaxing word, which is uttered or rather sung when a ewe is being coaxed into accepting a rejected lamb. The word toig is used with sheep only; for goats, the word is choig; for camels, hoos. In the latter instance, the morin huur (horsehead fiddle) accompanies the singing. While including a ewe to suckle a rejected lamb, the following words, for example, are sung:
The mandarin duck has arrived, The mugwort has sprung up, your udder is full,
Keeping it away, why do you reject it? Toig, toig, toig
This is sung gently, over and over again, until the ewe suckles the lamb. When a mother camel is being coaxed into accepting a rejected or strange calf, it is said to break into tears at the gentle sound of hoos and the enchanting melody of the morin huur, sung and played by someone skilled in the art of casting spells on animals. The words are more than simple calls and have become absorbed into poems and songs.
In A Thousand Plateaus, Deleuze and Guattari, 20th century French post-structuralists, are interested in explorations and subversions instead of analytic logic and unified Truth, of which the concept of the rhizome is only part. They contend that the tree – the arboreal structure- is the dominant image of the world; in the image of the tree, the world is categorized by stratification and the illusion of unity. Basically, the complex of roots at the bottom is exploited to support the fruit at the top, which serves only to reproduce additional tree-like complexes, additional hierarchical structures. “Arborescent systems are hierarchical systems with centers of significance and subjectification, central automata like organized memories.” In opposition to the arboreal is the rhizomatic, which is characterized by the rhizome or fascicular (bundle) root. The rhizome root, like that of grass, is one that moves outward, not upward, in a decentralized fashion to multiply in the places that suit its growth – and some places that don’t.
… the authors say, “We’re tired of trees. We should stop believing in trees, roots, and radicles. They’ve made us suffer too much. . . . Nothing is beautiful or loving or political aside from underground stems and aerial roots, adventitious growths and rhizomes.”
Social Spirituality, by Phil Campanile in
The Best We’re Doing, a Journal of the Good Life Center