A POSTThe below pics are from yesterday's storms. These were
taken in
Muskegon however, in my sister's back yard.
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I need roomy vehicles and/or trucks because I'm moving
again, hopefully for the last time for a while. I'm moving
from Longfellow Avenue in South Bend to a house on
BaugoBay (about nine miles away) and I have a somewhat flexible
schedule. I don't have to take one huge trip, but can take
several smaller ones leading up to August 1, which is the
move-in date. The people living there now leave today
though, so . . . This sounds like a weird
Craigslist entry.
The point is if you find you JUST HAVE to help out, email
me or something. The other aspect to this is it's gorgeous
enough to have to see. I'm kind of ADD what with all the crap
going on. You may have seen that Carrie
Oeding won the
Wolfson Prize, and will be published by 42 Miles Press. It's
an extraordinary book--full of TALK that's poetry. Full of pale
greens and sunlight glistening off the barbecue grille. It's
the first book for the press after a slow start getting things in
place--there were some issues to get ironed out--and it
will appear late next summer, or earlier. Christine
Garren's cahpbook, which was promised long ago, will appear
late summer/early fall. I'm reading, again, A. R.
Ammons'
Tapefor the Turn of the Year because I hadn't read any Tony
Hoagland for years. I thought maybe something magical
might have taken place since
Sweet Ruin, about the time
when I was part of a group deciding if some of
Hoagland's poems
should go into an old issue of
Passages North. They did,
though not with my blessing. Then I quit reading him. Now
he seems less precious than he did then, less melodramatic,
but if ever there are poems that read as if they are clever, when,
really, they aren't, it's the poems in his new "Late Honda
Dynasty" book (just that title should tip you off). Just buy a
Mark
Halliday book for crying out loud. I'm being too harsh. It's
not THAT bad (his poems about race and sex are
especially insightful), but it's certainly not great. I do like some
of Hoagland's essays. And the poems have moments--but they
don't coalesce into anything really unique. I think the
Oedingbook takes risks, although in some ways it's about regular
old life in the same way
Hoagland's poems are. For one thing
Oeding's book is constructed as if from multiple perspectives,
although it all clearly emanates from a
commanding central
consciousness. There's no posturing. The poems never feel arch.
The book isn't preachy, or superior-seeming--it just
is.Sure, you want to say,
I know this world. But you also want
to say,
I've never quite known anyone like this speaker(although in many ways it's all of us),
and she frightens me (a little)
. Now I have no energy left to say something about
Ammons' book, other than I am enjoying the hell out of it
for some of the same reasons. The speaker doesn't always
sound like the coolest (or smartest) guy in the room,
but by page thirty it's clear he is.
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I've got too many things happening at once. It's like Groundhog
Day for me (the movie), over and over again with the Way-Too-
Much thing.