
zimZalla object 021 is Minimus Post Ode Poem by MJ Weller, a bookartobject, comprising a booklet and pre-ode post card contained within a textual favour bag. More at the zimZalla site.

zimZalla object 021 is Minimus Post Ode Poem by MJ Weller, a bookartobject, comprising a booklet and pre-ode post card contained within a textual favour bag. More at the zimZalla site.
The next reading in the Materials Reading Series will take place on Thursday, 23 January, in the Armitage Room (FF) at Queens’ College, Cambridge, 7.30 for 8pm. An EXTENSIVE SOLO READING! Justin Katko will read
from Songs for One Occasion (Critical Documents, 2012), and new work. — ‘COMRADE! Before / Us! The deep time!’
(a poem committed against purity, precision, perfection) (a sequence of 100+ poems, following stochastically governed sequences of widely varied forms/constraints/recipes, with various repetitions of vocabulary, and varying openness to external language events) (a poem by Peter Philpott), here.
Frances Presley will perform at the next Other Room on Wednesday, 5th February, 7 PM start, free entry. The clip above is of Frances reading at Xing the Line in July 2012. For more information about her work, try her author page at Shearsman, or this interview with Matilde Christensen. The other readers are Gavin Selerie and Chris Stephenson, with a preview of Chris to follow soon.
Bio.
Frances Presley was born in Derbyshire, grew up in Lincolnshire and Somerset, and lives in London. She studied literature at the universities of East Anglia and Sussex, writing dissertations on Pound, Apollinaire, and Bonnefoy. She worked as a library and information specialist, in community development and anti-racism, and at the Poetry Library. Publications of poems and prose include The Sex of Art (North and South, 1988), Hula Hoop (Other Press, 1993), and Linocut (Oasis, 1997). She collaborated with Irma Irsara on a project about the fashion trade, Automatic Cross Stitch (Other Press, 2000); and with Elizabeth James in an email text and performance, Neither the One nor the Other (Form Books, 1999). Somerset Letters (Oasis, 2002), with drawings by Ian Robinson, explored community and landscape. The title sequence of Paravane: new and selected poems, 1996-2003 (Salt, 2004) was a response to 9/11/2001, and the IRA bombsites in London. Myne: new and selected poems and prose, 1976-2005, (Shearsman, 2006) takes its title from the old name for Minehead in Somerset. Lines of Sight (Shearsman, 2009) features Neolithic stone sites on Exmoor, and is part of a collaboration with Tilla Brading, Stone settings (Odyssey, 2010). Her latest book is An Alphabet for Alina (Five Seasons, 2012), a collaboration with artist Peterjon Skelt. Presley has written various essays and reviews, especially on innovative British women poets. She has co-translated the work of two Norwegian poets, Hanne Bramness and Lars Amund Vaage. Her work is included in the anthologies Infinite Difference (Shearsman, 2010), and Ground Aslant: radical landscape poetry (Shearsman, 2011). She has also contributed to a collection of poetic autobiographies, Cusp (Shearsman, 2012).
This previously unpublished Mac Low piece is now available via Jerome Rothenberg on Jacket2. The complete Light Poems will be published later this year on Chax Press.

3 previously unpublished scripts by Weldon Kees now available to buy from Knives Forks and Spoons.
Gavin Selerie will perform at the next Other Room on Wednesday, 5th February. 7 PM start, free entry. The other readers are Frances Presley and Chris Stephenson, with preview of both to follow in the next few weeks. For a flavour of Gavin’s work, watch this clip of his reading at Xing the Line in July 2012, browse his page at Archive of the Now, or his author page at Shearsman.
Bio.
Gavin Selerie was born in London, where he still lives. He taught at Birkbeck, University of London for many years. His books include Azimuth (1984), Roxy (1996) and Le Fanu’s Ghost (2006)—all long sequences with linked units. Music’s Duel: New and Selected Poems 1972-2008 was published by Shearsman in 2009. This includes a good deal of fugitive material, besides more widely available work. Selerie has collaborated with the writer and artist Alan Halsey, notably in the book Days of ’49 (1999). His work has appeared in anthologies such as The New British Poetry (1988), Other: British & Irish Poetry since 1970 (1999) and The Reality Street Book of Sonnets (2008). His poems generally involve a layering of voices through history and landscape. He has written extensively about London, reflecting his roots (an Italian family in Soho and an English family of wood-carvers). He has been a core member of the London poetry scene since the 1970s. There is frequently a concrete dimension to his work and he was featured in the recent Visual Poetics exhibition at the Poetry Library, London. Selerie is currently working on a large project, Hariot Double, which juxtaposes renaissance and modern elements. He sometimes performs with musicians, and this work-in-progress deals partly with the British jazz scene.
Wednesday, 19 February 2014, 19:30 until 22:00. Electric Palace, 39a High Street, Hastings, East Sussex, TN34 3ER.
Philip Terry – A reading by the author of tapestry, an extraordinary novel retelling the story of the Norman Conquest from the point of view of the Bayeux Tapestry’s English embroiderers. Tapestry was shortlisted for the inaugural 2013 Goldsmiths Prize for fiction.
Ken Edwards – The publisher of Reality Street reads from his collection of fictions Down With Beauty and from Bardo, a reimagining of the Tibetan Book of the Dead set in Hastings.
Elaine Edwards – Co-founder with Ken Edwards of local band The Moors, Elaine will perform on flute and accordion.
“This is a compilation of some of the collaborations which Fowler has undertaken with over 150 artists, writers, sculptors and musicians in a project funded by the Arts Council and the Jerwood Foundation. The scale of the work has been enormous and is a testament to Fowler’s commitment as a kind of impresario of the avant-garde (or vanguard, as he prefers to call it): alongside this anthology, numerous discreet publications have emerged with small presses.”
Read the complete review of SJ Fowler’s book of collaborations at Sabotage.
A new site from Other Room reader cris cheek: almost daily texts and photographic objects thinking about the art of poetry.
Curator and poet Philip Davenport introduces ‘The Dark Would’, featuring work from world-leading poets and text artists exploring the maze of living and dying. A variety of works from contributors such as Jenny Holzer, Richard Long, Susan Hiller, Tom Phillips, Simon Patterson, Mike Chavez-Dawson, Tony Lopez, Richard Wentworth, Caroline Bergvall, Lawrence Weiner, Fiona Banner and many others, including outsider artists.

This conference Beyond the Cut-up: William S. Burroughs and the Image will explore new theoretical interventions and accounts of Burroughs’s ideas of the image, its effects and modes of operation, its impact on human consciousness, its complex embedding within textual and other fields, its psychological and ideological transformations of perception.
William S. Burroughs’s complex and provocative uses of the image challenge critical and theoretical orthodoxies. His works in writing, visual arts, cut-up and collage, painting, assemblage, photography, and in sonic arts, constantly return in multiple ways to a detailed and politically urgent enquiry into the nature and effects of the image, the word-as-image, and beyond.
Critical work on Burroughs’s art has hitherto focused mainly on his uses of cut-up techniques. However, his works offer very diverse responses to the multiple political and emotional functions of images in relation to modern and postmodern societies of control, and enable explorations of the status and potentials of the artist as agent within these contexts. These themes are insistent Burroughsian concerns.
At The Photographers’ Gallery, 16 – 18 Ramillies St, London W1F 7LW.
Tuesday 7 January, from 7.30 at The Lamb (in the upstairs room), 94 Lamb’s Conduit Street, London WC1, with Paul Buck, Paul Holman and Jaime Roble. £5, £3 concessions.
Online now, featuring work by Louis Armand, Dan Beachy-Quick, Andrew Cox, Jen Degregorio, Mark Dow, Valerie Duff, Giles Goodland, Anne Gorrick, Ben Hickman, Linda Kemp, Burgess Needle, John Regan, Denise Riley, Robert Sheppard, Gary Sloboda, Simon Smith, Jeffrey Thomson, Philip Wilson, with an essay by John Wilkinson on D.S. Marriott, and Adam Piette reviewing Alan Halsey; CUSP, ed. Geraldine Monk; Helen Mort; John Birtwhistle; David Kennedy & Christine Kennedy’s Women’s Experimental Poetry.
Includes CLOSE READINGS: Florence, Flores, Huber, Kozak, Upton; REPORTS on E-Poetry’s TEN YEAR ANNIVERSARY, E-Poetry 2011 plus Digital Poetry & Dance, 2012, featuring works by numerous distinguished members of our list. Many great gems here, reflections, high-quality videos, documentation of the “Language to Cover A Wall: Digital Poetry Component” exhibition, a major exhibition for digital poetry held in Buffalo last year and more.
Online here.
Rescheduled from 5th December, now 30th January at 8 PM, Veg Box Café, 1-2 Jewry Lane, Canterbury.

An Anthology of Concrete Poetry was first edited and published by Emmett Williams and Something Else Press in 1967. In 2013, artist Rachel Simkover chose a selection of poems from the anthology to have transcribed into braille. Available from Motto Books.