prison-house section

as promised, here’s the section of my new work-in-progress, prison-house, which I read at the release party:

__________

I hear a good many things about my life;

the best I can do is repeat them.

I am told that my parents, concerned

with poisoning me, bottled food to feed me.

I am told that once, at the beach, I refused

to return home as a cohesive unit, denying

familiar bonds. I am told, at a certain point,

I refused to return home whatsoever.

I am told that I loved someone and that

someone once loved me and we lived together

for many years in several different apartments.

I am told that a good many things about my life,

denying familiar bonds, refused to return home

at all for many years in several different apartments.

__________

traitorous cancer, serpent denying self

bad-bad train bound for nowhere good

inexhaustible nothing/something

lying on the dark dark green sheets,

twisting and twisting, waiting

for the whistle to get blown

for something something to get not-

foggy, to get a fucking job already,

to get fucked every which way

on the roof, in a building, in a car

or in a noose, or in the proverbial

lie of an originary truth, small thing

eating words and crawling, small

thing, a loved and not-loved thing,

small thing, reading fast, never

really learning to walk upright,

small thing crawling, small thing still.

as a small thing, I was held,

remembered strange stories

in the night, words confusing

to a small thing,

disappearing immediately,

reappear later, interrupt

creeping into the stairwell to sleep,

my lip gushing blood I lay, blanketless,

on the carpet, I remembered the strange stories,

felt nothing was right, felt something

__________

To get on the stairs,

I would have had

to have been in one

of many apartments

with someone who

I loved who supposedly

loved me, and that

supposition, apparently,

would have been false.

__________

unspeakable disaster, me and not me

unspeakable disaster, warm and heaving

in the bathroom, seeming to die

unspeakable disaster sleepless and seamless

and shirtless and full of glitches,

things unsaid unspeakable disaster

got me on my knees, unspeakable

disaster forgetting and remembering

Unspeakable

disaster,

I’d call

on the dead

for remembering,

but the dead,

like me,

don’t remember

a thing.

Unspeakable disaster, tell me sometime

I knew nothing truly, not that nothing

of nothing but nothing-nothing,

the small thing. small thing lost to me,

muddy in the garden watering roses

with Mom, diaper-clad, pulling

the cat’s tail like a personal handle,

cutting a thigh open on a Chevrolet seat,

eating chocolate cake, feeling scared

at night, loving Daddy so much,

privileging disaster.

Tell me

there are no

limit-points,

that it’s all

a part

of the same,

that I need

only press my ear

into the silence,

that it

will speak to me.

words flash past my face.

I’m kneeling on the bedroom

floor, looking up at god,

considering dead letters.

cards coming up in the hands

of my mother, her long red nails

against pale cardboard.

aardvark. tarantula. lemur.

animals I will never meet.

I’m strong, made strong

by freshly ground fruit

and vegetables, denial,

and devout abstinence,

but I’m weak as I try,

as I try to picture

the things before me,

fail, can’t put anything

between the aardvark’s

A & K, can only think

of noah and his ark,

my future exclusions

__________

this is interval one.

no spaces between the intervals

but more intervals.

no intervals between intervals

merely cuts, empty spaces

no knowledge of interval one

until interval ten,

no knowledge then either

interval outside of intervals,

ending interval systems:

hunters have found a body

in the desert. unidentifiable

at the time. heavily decomposed.

aardvark, tarantula, lemur,

coming home to roost

many years later in several

different apartments, aardvark

in the living room,

the subway rushing by

outside, making static on the TV,

shrouding the hard-shelled beast

in darkness, aardvark in Venezuela

where mother and sister worried

the house’d burn, made clothes

by hand, constantly fearful lemur,

intangible, tarantula, unmentionable.

__________

he could be anyone.

the man who watches

you cry,comforts,

the kindest old fool

on the block.

he might be crouched

with the aardvarks

in the flickering light,

under worrisome noise.

he might have prayed

for these outcomes,

and it would be the prayers,

not the outcomes,

that could give you nightmares.

You might have forgotten about him.

I have forgotten about all of them.

forgetting is our human duty.

one must forget, and live on.

__________

valentine’s day

holy moly!  tickets for my bloody valentine on October 1st and 2nd at the santa monica civic center go on sale tomorrow at 10 am!  too bad they are $50.  ouch. but still…

http://www.ticketmaster.com/event/090040A68DEF3E99?brand=goldenvoice

 

the morning after (well, not quite)

I’m finally settling from the excitement of the release party and the trip up to the bay area I took last weekend, so I wanted to send out a big official thank-you to everyone who attended the release party, and to post some photos from the event. It couldn’t have gone better, as far as I’m concerned, and both my publishers and I were thrilled by the turnout. It was a great crowd, filled with old and new friends, family, and everything in between. I really appreciate everyone coming out, and it was a special treat to see some old friends I haven’t seen in quite some time. I feel very lucky to be surrounded by such wonderful, supportive people, and am excited to be back in L.A., with its amazing community of writers and artists.

kimstage

Thanks also to all of those who contributed and helped make our night possible: Keith at La Cita for setting everything up, La Cita itself (and our wonderful bartenders), Jimmy Kwon from Sandwich Shop for donating food (check him out at www.sandwichshopla.com, so you know where to go when you’re hungry in downtown), Justin and Mike for reading with me, and, of course, Chiwan and Judy of Writ Large Press for making it all happen.

So check out the photos from the party, and other random photos on my gallery!

If you saw me at any point before I read, you may have noticed I was a bit nervous, but once I got started, I relaxed into the moment and really enjoyed myself.

I’ve received a number of emails from those of you who bought the book and are enjoying it—so thanks, too, for all the positive feedback. If you didn’t get a chance to buy the book at the release party, or couldn’t make it, you can purchase it through my publisher, Writ Large Press, or through Amazon (just hit the link over —> where the picture of my book cover is). If you want it signed, email me at mypalbeckett[at]gmail[dot]com, and we’ll make it happen.

Of course, this is just the beginning. Over the next few months and beyond, I’ll be doing a number of readings to promote the book and will keep everyone up to date through the website, so please be sure and check in to see what’s coming up (I’ve got plans for Betalevel, a gallery in downtown, the Echo Park Film Center, a fancy house in the Palisades, and Good Hurt bar), and to see what’s happening on my blog. I’ll be posting the section of my new work-in-progress “prison-house,” that I read at the party soon, since many of you were curious about that piece, as well as a few poems from the book. I also review books, let you know about things I think are awesome, and other things of that nature. See you all soon!

El-P has a blog, and it’s incredible!

In case you’re not familiar with the man in question, El-P (El Producto) is the co-founder of Definitive Jux, an amazing underground hip-hop label featuring the likes of Aesop Rock, Mr. Lif, Cage, Cannibal Ox, Del the Funky Homosapien, and, of course, his own albums. He’s also a well-known producer, to put it mildly.

He’s started up a blog, and it’s fucking hilarious.

I’m not sure quite how to describe it, but let’s just say El-P has used his photoshop skills to create an evolving narrative in pictures chronicling his plans for a stage show featuring lions and unicorns. Then:

the good news is looks like we got that red bull dough after all. which is cool with me cause its good for you and fun to drink. the bad news is we lost the unicorn. apparently humans cant actually touch unicorns or they die. which ours did. we did however manage to get a last minute replacement and honestly i dont think anyones gonna notice the difference.

The “last minute replacement” is a donkey, which is amazing, but it just keeps getting better, as El-P loses his red bull sponsorship due to the content of his lyrics and is forced to take on “Lightning Bolt,” an energy drink created by Steven Segal, as his new sponsor.

As if this isn’t wonderful enough, there are also a number of quotes from El-P’s favorite writers, which he takes time to reflect on:

I want to stay as close to the edge as I can without going over. Out on the edge you see all kinds of things you can’t see from the center. -Kurt Vonnegut

i think about that when i realize all my most talented and creative friends are also completely out of their minds.

i also think about that when i wake up in some strange girls bed after a drug and alcohol binge. then i think to myself, ‘damn you, kurt vonnegut. look what you made me do again.’

I will be checking this shit every day, religiously. I can’t do it justice here. Just go:

http://blogs.okayplayer.com/el-p/

please buy a lot of books;

The government screwed me hard this year.

recommended: Rod Smith’s Deed

B7A403B4-B884-4E40-BF70-9718DBB47B34.jpgI’ve just finished a great book of poetry, Rod Smith’s Deed. I first heard Smith’s work when I was taking a writing workshop with Chris Nealon (another fabulous poet) while I was at Berkeley. Chris brought in a poem, “The Good House,” that blew me away. At the time, it was only available as a chapbook published by Spectacular Books, and I was too broke to buy one when Chris brought in some copies for our class. I’ve been looking for that poem ever since, and googled it recently to see if I could track it down.

The good news: University of Iowa Press had included “The Good House” in a collection published in 2007, Deed. The better news: the rest of the collection is equally wonderful. Smith’s got an incredible range–a linguistic adventurer at heart, he manages to be both hilarious and deadly serious, light-hearted and frank. Technique-wise, he’s admirable to say the least, but he doesn’t rest on his laurels, hovering at the level of cleverness. Underneath the spirit of play in his work runs an undercurrent of political and existential unrest that’s both unnerving and wonderful.

Perhaps a good way to sum this collection up is to say this. After stanzas such as this:

“the good house – it is heavy,
the good house – it exercises
hope in the inhuman, is transformed
by it—
becomes blatant in its strength
& is destroyed, the good
house must be rebuilt
carefully. The good house
is in conflict.” (Deed, 13)

Smith ends the collection as such:

pour le CGT

“We work too hard.

We’re too tired

To fall in love.

Therefore we must

Overthrow the government.” (Deed, 87)

Indeed, Mr. Smith. Indeed.

the novel cafe=good news

I work in Santa Monica and teach writing class until late on Mondays, so instead of driving home to Atwater and suffering through an hour and a half of east-west morning traffic on Tuesday mornings, I crash at my aunt’s in Santa Monica every Monday night. Yes, I’m willing to sleep on a mat on the floor instead of in my own bed to avoid traffic, which is pretty much the bane of my existence. Aside from back pain, one of the problems I encounter when camping on the Westside is that I can’t write in someone else’s home. So, last night after work, around 10 pm, I was looking for a quiet place to do some writing and I finally found somewhere that’s great. If you’re in Santa Monica/Venice area and need a place to read, write, or study, The Novel Cafe is good news.

49FF41D0-85E6-4EE8-8178-826C48923E3D.jpgimage by Tamar from Postcards from LA.

They keep it nice and quiet—low music in the center room where you order drinks only, and the other customers, fortunately, do the same. It’s right next-door to a bookstore, and the whole place is chock full of books! Everywhere! Shelves of books all around, which is pretty much my weird idea of some kind of heaven. It’s also open late—until 1 a.m. Monday through Saturday, and until midnight on Sundays.

I was actually able to get some good work done on a new long poem I’m working on called prison-house, which, if you were at the Tongue and Groove reading, you heard the first part of. The last time I evacuated my aunt’s in search of solace and went to the bar to write, it turned out to be karaoke night, which was pretty unfortunate, and needless to say, not the best environment for writing. So this is a good, safe, quiet option if you’re looking for somewhere to do your thing and don’t want to suffer through some drunk-ass wailing through his/her interpretation of one of Journey’s popular hits.

I’m hoping to set up a reading here sometime soon, and I’ll keep you posted. Here’s their website, for anyone who’s curious and might want to visit: The Novel Cafe

THE RELEASE PARTY!!!!

In case you can’t tell by the ALLCAPS, I’m really excited about the release party for who’s to say what’s home/launch party for my publisher, Writ Large Press!

It’s taking place on Friday, May 2nd, at La Cita bar in downtown LA, from 7-10 p.m. We really couldn’t ask for a better venue. It’s a great bar, and we’ll get to hang out on the patio, where’s there’s an outdoor bar. Did I mention it’s at a bar?

I feel like it’s my wedding day or something. I’m already freaking out about the music, and what I’m going to wear. So, basically, if you don’t attend, you will have ruined my wedding day, and I’ll never forget you didn’t bother to show up. Years later, when you see me on the street and try to shake my hand, I’ll turn away in disdain, shaming you forever.

I’m kidding, of course.
(Am I?)

Writ Large got these really nice postcards printed up for the event. I’m going to figure out how to use the scanner at work, and scan it in so you can see the postcard even if I don’t see you in person. Check back in a bit for it!

It’s gonna be a blast. I’ll read some stuff, and Chiwan and Judy (Writ Large Press) will tell us about their publishing company. There may be some surprise guest performers, even. There’ll be music, and drinking, and social banter, etc. So come!

A big thanks!

A big thanks to those who attended the reading!

A week after the reading at Tongue and Groove last Sunday, things have finally settled down enough for me to sit down and reflect on it.

Firstly, I just want to express my appreciation for all the support. It was a great turnout—and it was wonderful to look out in the crowd and see so many familiar faces.

The night as a whole was just amazing. Conrad has really done a bang-up job organizing, promoting, and making Tongue and Groove a fantastic monthly event. It’s a cut above what many of us have come to expect from spoken word in L.A., and the talent I shared the stage with blew me away.

What an entertaining and memorable group. I’ll be laughing about the moment in Josh’s piece where the little Mormon boys in shorts were chasing the energy drink van for a long time, Dana’s short story was a treasure, and I’m still listening to Izzy Cox’s CD.

For me, the reading marked the first step in the long road to getting my book out there. It also marked a personal triumph—overcoming my terrible fear of reading publicly. For the first time, I really felt able to relax into the pieces and to connect to them while on stage. I feel like, finally, I gave them their due.

It helped a lot to feel all the love in the room. So, again, thanks for coming. See you all at the release party!

On Spivak’s preface for Of Grammatology

I’m finally getting around to reading Spivak’s translation of Derrida’s Of Grammatology, and I’m highly impressed by the clarity and complexity with which she manages to tackle this most difficult of literary theorists.

I’ve always been intrigued by the way in which a writer, to some extent, deconstructs his/her own creation while simultaneously creating it. Or, that failing, deconstructs his/her creation in the process of editing—laying bare, in the best circumstances, those contradictions or moments of failure within a piece that demand further examination, and in which reconciliation with the remainder of the text seems never fully possible. I’ve always felt that these actions are somehow linked to the influence our unconscious has on work. For me, these unconscious drives are often what “propels” a piece forward, causing seemingly unrelated images, moments, and ideas to suddenly appear, cryptically linked, on the same page. Spivak’s summary of this process is helpful to my own understanding of this phenomenon:

“As we recall, at the time that a stimulus is received, it goes either into the perceptual system or into the Unconscious and produces a permanent trace. That particular trace might be energized into consciousness…long afterward…but it never comes up as such; in fact, as Derrida argues, following Freud, the trace [die Bahnung] is primary. There is no “thing” there in the Unconscious but simply the possibility for this particular path to be energized. When the track is opened up, and we have the après coup perception of the originary trace, the impulse in the Unconscious is not exhausted. Unconscious impulses are indestructible” (Of Grammatology, lxxxi-lxxxii).

I’m fascinated by the phrase “the possibility for this particular path to be energized.” For me, it’s one of the clearest articulations of how the writing process occurs—-by entering a creative space, we open this possibility “after the fact,” and are given the chance to place on paper not an experience, not an accurate representation of an experience, but the “trace” of some distant experience, of which the impulse to communicate, to come forth, is as necessary as life and death for the artist.