Subterranean Phrases with Tony Brewer and KLL radio hour with Kirsten Clodfelter

This week in Literary Louisville: 

Wednesday, May 14, 8pm in the cellar lounge of Decca Restaurant [812 e. Market] –Subterranean Phrases

Featuring Tony Brewer, Bloomington, IN and Paul Robey of Common Collective 

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Tony Brewer is a poet, spoken word performer, screenwriter, sound effects artist, and roller derby announcer from Bloomington, Indiana. He also is executive director of the Spoken Word Stage at the 4th Street Arts Festival; chairs the Writers Guild at Bloomington; and is one-quarter of the performance group Reservoir Dogwoods. He teaches and performs live sound effects at the HEAR Now Festival in Kansas City, and is the house sound effects artist for the Firehouse Follies live variety show on WFHB Community Radio. He has announced for Bleeding Heartland Roller Derby for 8 seasons, and he wrote and co-produced 8 Wheels of Death, the world’s first roller derby zombie romantic comedy. He has three books of poetry: The Great American Scapegoat, Little Glove in a Big Hand, and Hot Type Cold Read.

We had Tony on the radio hour awhile back and you can listen here: http://www.mixcloud.com/KeepLouisvilleLiterary/tony-brewer-on-kll-22024-poems-radio-plays-roller-derby-zombies

Host of Subterranean Phrases, Rachel Short, matches a musician with the writers to perform unrehearsed collaborations. Paul Robey of Common Collective will be providing the soundscape with Brewer’s words.  http://www.reverbnation.com/commoncollective 

There is also an open mic available and opening Set by Brian Manley, artFM local music director, and Douglas Lucas, Louisville Experimental Festival. 

 

Thursday on the Keep Louisville Literary radio hour on http://artxfm.com at 1pm EST, we’ll be chatting with Kirsten Clodfelter.

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Kirsten Clodfelter’s writing has been previously published in The Iowa ReviewBrevityNarrative MagazineGreen Mountains Review, The Good Men Project, and storySouth, among others and is forthcoming in ROAR Magazine. Her chapbook of war-impact stories, Casualties, was published last October by RopeWalk Press. Clodfelter is a regular contributor to As It Ought to Be, where she is also the Series Editor of the small-press review series, At the Margins. An Associate Editor of New American Press, Clodfelter lives in Southern Indiana with her partner and young daughter.

Tune in to hear live readings from previous work and upcoming projects along with Q&A with Host, Rachel Short. 

 

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Summary of Events [3.12-3.15]

Tonight: Wednesday [3.12.14]  Subterranean Phrases, Live collaboration of writers and musician, featuring Sonya DeVries, words, Jon Silpayamanant, cello, Jackie Royce, Bassoon. Host, Rachel Short. Location: Decca [812 e. Market] 8pm, FREE

Thursday [3.13.14] Keep Louisville Literary on artxfm.com, 1pm EST. Featuring Gonzoville poet, Ron Whitehead. 

                Also on air: 

Tune in to Spectrum this Thursday at 7pm est. William S Tribell will be talking with Kentucky poet, photographer and filmmaker- Sheri Wright about her latest film project down in New Orleans; “Tracking Fire”. Join us on FM WLMU 91.3 The Gap or listen online at http://www.913thegap.com/

 

Friday [3.14.14] InKY, Louisville’s longest running reading series featuring: 

Knopf poet Sarah Arvio reads in Lexington and Louisville. Thursday, March 13 at 6:00 at the Carnegie Center in Lexington with Bianca Spriggs. And Friday, March 14 at 7:00 as part of the InKY Reading Series at the Bardstown in Louisville with Mary Hamilton and Dave Harrity.

Sarah Arvio works as a translator for the United Nations in New York and Switzerland, and has recently also taught poetry at Princeton. Her poems are widely published, in such journals as The New Yorker, The Paris Review, The New Republic, Boston Review, The Kenyon Review and elsewhere. Her first book, Visits from the Seventh (2002), won the Rome Prize and a John Simon Guggenheim Memorial Foundation fellowship. Poems in that volume were awarded The Paris Review’s Bernard F. Conners Prize and Poetry?s Frederick Bock Prize. She is also the author of the poetry collections, Sono (2007) and night thoughts (2013).

Host, Adam Day. Location: The Bardstown, [1801 Bardstown Rd.] 7p, Free

 

Saturday [3.15.14] Mothership Ensemble including the world premiere of composer, Chris Kincaid’s piece ‘Full Sunlight’, poem by Conyer Clayton. IU Southeast, Ogle Center, New Albany Indiana, 7p, free 

Press Release: 

Second concert of the Mothership Ensemble 2013-2014 season!

Featuring Terry Riley’s “in C”

Mothership Ensemble Presents Minimalist Classic In C and World Premieres by Local Composers
February 19, 2014, Louisville, KY… 

Contemporary/avant-garde music collective
Mothership Ensemble continues to bring innovative and experimental modern classical music to the Louisville area with a free concert on March 15, 2014 at Indiana University-Southeast’s Paul W. Ogle Cultural Center. The program will feature both newly-composed works and 20th century classics performed by some of the most versatile and enthusiastic musicians in Kentuckiana. 

The program will feature Terry Riley’s classic minimalist composition In C (1964), in honor of its 50th birthday this year. The piece consists of a series of 53 musical phrases which can be played by any musician, in any order, and for any length of time, resulting in a thrillingly hypnotic experience. The work is considered one of first compositions of minimalist music, originally written as a reaction against the highly structured, ultracomplex
music of the era.

Another masterpiece that Mothership will reprise is Louis Andriessen’s Workers Union (1975), which the ensemble first performed on its season kickoff concert in 2013. The piece is a raucous, rhythmically charged workout written or “any loud-sounding group of instruments.” Andriessen has described the work as a politically symbolic, displaying “a combination of individual freedom and severe discipline… it is difficult to play in an ensemble and to remain in step, sort of like organizing and carrying on political action.” 

In addition to performing these twentieth century classics, Mothership prides itself on promoting the music of composers from Louisville and Southern Indiana. This concert will feature the world premiere of Chris Kincaid’s Full Sunlight, written for bass flute, viola, cello, and electronic sounds. The work is inspired by the poem “Full Sunlight” written by Louisville-born poet Conyer Clayton, and explores music that, according to
Kincaid, “is not exactly frozen in time, but instead takes place in time that slowed almost to a standstill.”

Mothership is also excited to perform Sympathetic Vibrations, for tuba and piano, by the ensemble’s co-director and hornist Rachel Short. For much of the piece, the pianist does not play on the keyboard itself, but rather depresses the pedal and allows the
strings to resonate in subtle harmonies with the tuba. In this way, the two instruments dissolve their individual identities, becoming extensions and reflections of each other.

Ensemble director and cellist Jon Silpayamanant will perform in almost every work on the program, including Recursive Iteration No. 1, a new composition by Silpayamanant for cello, bassoon, and electronic sounds. 

Video artist Roxell Karr, who collaborates with Silpayamanant in their duo Camera Lucida, will provide projections for many of the
works on the concert to provide an immersive audiovisual experience.

The Mothership Ensemble is a new music collective based in the Louisville area, founded by Rachel Short and Jon Silpayamanant in 2012. They seek to increase the performance and awareness of contemporary music in Louisville through unique programming in unconventional venues. The group constantly seeks and commissions new music from young and local composers while continuing to present essential, yet underrepresented works of the 20th and 21st centuries. Mothership maintains an “open” membership, welcoming anyone in the community that interested in performing contemporary music to join them.

For more information about the event, call 502-553-8631, or visit the event’s Facebook page at https://www.facebook.com/events/699264106769208.

Mothership Ensemble: https://www.facebook.com/MothershipEnsemble
Jon Silpayamanant: http://www.silpayamanant.com/

Nu Mu Lu: http://www.numulu.org/

See you there, Rachel 

TODAY on KLL Radio 1pm Kristen Prevallet!

Tune in at http://www.artxfm.com in FIVE MINUTES to hear me speak with Avant-Garde, Feminist poet and essayist extraordinaire, Kristen Prevallet! Kristen will read her reworked Eliot quartets and essays on neuroplasticity and the biochemistry of language!!

Kristen read last night at Hillbilly Tea and is the writer-in-residence this semester at Spalding University’s creative writing BFA!

http://www.kayvallet.com

Today 10/31 on KLL RADIO Merle Bachman!

Rachel Short will host poet/prof Merle Bachman to talk about the Spalding BFA in creative writing, the new local literary magazine Word Hotel, Merle’s poetry and her upcoming Subterranean Phrases December reading TODAY 1pm on http://www.artxfm.com

click over and tune into streaming arts radio!

(photo credit Micheal Jackman, http://www.mjfreelance.com)

Poet Amanda Smeltz Discusses Wine, New York, the Ambiguity of Destruction, and Her New Collection IMPERIAL BENDER

Typecast Publishing authors Amanda Smeltz, Chris Mattingly, and Matt Hart will read April 20th 7:30pm at Seidenfaden’s (1134 E Breckinridge St  Louisville, KY 40204). I guess Jen Woods couldn’t resist throwing a party here in Louisville for National Poetry Month! Smeltz’s Imperial Bender is forthcoming as a limited VAULT edition, the first run of Mattingly’s Scuffletown is due shortly, and Matt Hart’s Sermons and Lectures: Both Blank and Relentless is being reprinted in box-set (letterpressed booklets and the CD album of the same name by Matt’s band TRAVEL stuffed into a cool box). To celebrate her own book and the rest, Amanda Smeltz is coming all the way from Brooklyn, NYC to party with us!

 

Brandon Stettenbenz: As a sommelier you have to know your product intimately, down to the slightest nuance. In Imperial Bender, your poems often compare individuals to very distinct wines, and you seem to mull them over carefully, in a similar way to wine though perhaps with less professional distance. How does your profession fit with or influence your poetic?

Amanda Smeltz:  I compare people to specific wines in the book? I know there’s one poem where I liken my skin getting tan to Heiligenstein (which is a famous vineyard in Austria, it means holy rock)— but this has less to do with wine knowledge and more with my capacity for mythologizing. My profession isn’t being a somm; that’s an aspect of my day job. Thinking about wine isn’t a superpower, though of course it doesn’t suck to think sensually and emotionally as part of your job. But listen, a lot of it’s throwing around cases of booze in storage and dealing with imbecile salespeople. The Muse turned down my invite to visit the walk-in where I’m counting kegs.

BS: Speaking of spirits, this collection is boisterous, surreal at times, but also seems very personal. Some of the poems, in my opinion, read like letters to loved ones lost to death, or simply left behind. There’s an elegiac fondness working like vines through this book, like some organic network of human experience that binds crazy parties and indiscretions into a tapestry of being (as opposed to a National Lampoon movie). Could you tell us how you approached balancing your personal experience/narrative with the universal/philosophical images that delve into/aim for our “collective unconscious”?

AS: Hey, there’s plenty universal and philosophical about indiscretions! Shakespeare was more bawdy than I am, and no one pokes him about showing too much undapants.

I was fretful about a very confessional poem I was writing in grad school, one that was about as realist as they come, and a friend advised me not to be so nervous: he said the more honest we are in poems, the more others will recognize themselves in them. Through empathy, I wager. Admittedly I sometimes fear being considered an inferior intellect for my need to overtly explore my personal history, but that’s only when I’m being pathetic. I’m bound by my personal experience, even my body, but I mean to use them both to enter being beyond my own. As to how I go about doing it, I don’t understand my own methods. A lot of the poems are just frantic attempts. Rhyme I tried, and bravado, and narrative, and vivid imagery. How does any poet do it? I’m still learning. Seidel has: “I don’t remember poems I write. / I turn around and they are gone.”

I like that you said “elegiac fondness” in the same breath as “vines,” though. Couldn’t be happier to have those things said in earshot of my poems.

BS: Your poems in Imperial Bender go back and forth between allusions involving Greek mythology and romanticized modern experiences akin to the dramatically embellished beaches and pastoral places a reader might find in say, a Harlequin Romance. I found these transportations surprising, at times hilarious and at other times dead serious. I just don’t see many people hitting two very disparate ends of the literary spectrum within one collection, let alone one poem, very often. Delivering believable emotions to your reader in two modes back to back seems like an inherently difficult approach. Why did you decide to layer your work with these different allusions?

AS: Because that manner of counterpoint delights me. High and low, pah. It seems to me our notion of poetry lags way behind our notions in the visual arts. We’re comfortable there with not differentiating between high and low. I make a shitty realist, it turns out, and I can’t “correct” some of my bad taste. I populate my poems with things I delight in or am vexed by. If that’s Tupac and the book of Isaiah in the same breath, I can’t help that any.

BS: You also address people in your personal history (most notably in “Letter to Denny from Brooklyn”) as well as historical figures (ex: George the second) and poets (ex: Keats, Li Po). Besides being obviously rooted in your past and education, perhaps in your development as an artist or just personal development in general, what reasons did you have for using such specific figures? What’s their function for you, and also for your readers?

AS: I like people! I put people in my poems because they’re what I spend the bulk of my time thinking about in real life – whether alive or dead, fictive or “real…”  The people in what I write are alive to me. To employ someone from my life is strange anyway: the moment you put them in your poem, your intention of how to depict them or what they mean to you is out of your hands. It belongs to the reader immediately. Denny Smeltz may as well be John Flippin’ Keats to you. And who Keats is to me is my own goddamn business, and I intend to keep talking to and about him. Although, as regards the habit of name-checking my poet loves, the very intelligent Mark Bibbins told me I’m too much FUCK YEAH NEW YORK SCHOOL, and that’s likely true.

BS: There’s quite of bit of self-destructive behavior, which you lament, celebrate, and forgive almost simultaneously. Likewise, the destruction and mutilation of individuals, societies, and landscapes wrought by war is also present. Finally, the motif of destruction, mutilation, and change inevitable to time and human experience is implied by natural imagery (most notably in “Baby, Vivere”). Those are three quite distinct ways to address our malleable reality and growth/decline as individuals and as a species. Why did you choose such an aggressive mode to tackle this subject? Is the natural imagery intended to quell or defang the terror of war and abuse?

AS: “Lament, celebrate, and forgive almost simultaneously” – that’s very accurate. That’s close to how I encounter wrongdoing and suffering in myself and in the world. Some kinds of destruction have no redemptive aspects – rape, abuse of power, brutality. But even in the wake of horrible suffering, there’s sometimes a pasture… And some kinds of destruction aren’t evil at all; I’m not the only artist who’s made good, lucid work in a gnarly hangover. I don’t know how to talk about the ambiguity of destruction better than this. It is probably one of the reasons I write poems.

If this mode, whatever it is, seems aggressive to you, I can tell you that you aren’t the only person who’s found being with me exhausting. Being a human is intense!

For the natural imagery – no, it can’t de-fang the horror of the world. But it is still crazy beautiful here sometimes. There’s a begonia blooming outside my window right now, on my gritty industrial block. I love it, and I love the neighbors who insist on it despite their nonexistent backyard.

BS: Ok, that was a ton of literary, philosophical and craft talk. Lastly, I’d just like to share a note I wrote while reading Imperial Bender and maybe get your reaction to it: “Celebrations of the wild mundane and of modern misfits drunk on dreaming.”

AS: I’d say you’ve captured perfectly my romanticizing self-indulgence. Cheers.

BS: If you aren’t excited Louisville readers, you might want to check your pulse. Seidenfaden’s (1134 E Breckinridge St  Louisville, KY 40204) April, 20th @7:30PM: Grab your best hat, slip on your boots, get ready to laugh, hoot and holler, put a couple books and maybe some bourbon on your tab for the authors!

 

Author Bio: “Amanda Smeltz is the assistant poetry editor for Forklift, Ohio. Her interests include philosophy, history, swears and insults, bourbon and big laughter. In addition to writing, you can find Smeltz in her Brooklyn stomping ground working as a sommelier and wine director. Buy her a drink.”