Travis Smith from the excellent Wag’s Revue sent us this endearing photo: Mary Ruefle drew a picture of a giraffe on his galley copy of Trances of the Blastafter her celebratory 2014 Robert Creeley Award reading. Congrats to both of them!
"Poetry with Ethernet" feat. Jan Weissmiller, who cruised me around that great plains haven known as Prairie Lights. Shown here in respite from the world’s most enthusiastic floor shift, on hallowed ground of Iowa City. #wavepoetrytour2014 #prairielights #rangelife
Open Books in Chicago is a nonprofit bookstore with an excellent selection, which includes a variety of Wave titles! On display are four of our Spring 2014 books: Talkativeness (Michael Earl Craig), The Pedestrians (Rachel Zucker), If I Don’t Breathe How Do I Sleep (Joe Wenderoth), and Etruria (Rodney Koeneke).
Want to get involved with Wave Books? We are looking for a new social media intern starting May 1st! If you’re interested, send a CV and brief cover letter to email@example.com by April 15th. More info HERE.
Each year, APRIL caps off its week-long festival with a big book fair at Seattle’s writing and literary arts center, Richard Hugo House. This year 39 presses will be in attendance. Scope ‘em out below!
1. The APRIL table will have a few goodies and books from the 2014 festival…
We’re super excited to participate in the APRIL festival in Seattle this March with all these other fantastic presses and magazines!
Los Angeles folks! On March 16th, Machine Project will present not one, but two very rare performances (the fourth and fifth EVER) of Black/White Oratorio by Robert Lax and John Beer. The play will be performed with a cast of 12 for two audiences of 12 in our Mystery Theater. (In other words, even with two shows, seating will be even more limited than usual.) Lax’s later poetry, from which this play emerges, is often named minimalist for obvious reasons–but is also richly nuanced and incantatory, even hypnotic. In this theatrical embodiment of his poetry, created by Lax and John Beer on the island of Patmos in the late nineties near the end of Lax’s life, these tendencies of the work are sure to be intensely on display. This seems especially true given the intimacy of the setting.
John Beer, co-author of Black/White Oratorio, writes of its origin: “I was Robert Lax’s assistant on the island of Patmos between 1996 and 1998. One night at dinner, Lax mentioned that he was interested in putting together a performance piece based on his abstract color poems (like Black and White), poems that presented series of color words in rhythmic groupings. The interest in performance went back a long way; Lax’s original literary ambition was to write comic plays, in the style of Noel Coward. The Oratorio may have fewer jokes, but the aspiration to a perfection based on timing remains. It took about six weeks to sort through color poems and assemble them into the right kind of structure, though the initial inspiration—that a chorus/soloist structure would enable progressive development of motifs—came quickly. The Oratorio has been performed three times to my knowledge, in September of 1998 at the Festival la Batie in Geneva, Switzerland (directed by Vincent Barras), a second time in Geneva in 2006 (also directed by Barras), and in August of 2004 for the Discrete Series in Chicago.