Tuesday, April 27, 2010

In Case You Missed It: Thanks Dana Lomax and Kindergarde!

Last Sunday found Timken Hall filled with the amazing energy of Kindergarde!

Here is a reading report by Amber diPietra:

“Friends half-medium and medium-half”, I was so excited to go to the San Francisco/CCA performance of Kindergarde. I’ve been trying to write a series of poems about little kids I have tutored over the last few years. Not about them per se, but about our work together, which often requires us to stare into the absurd worlds-propositions that are their standardized test practice booklets. In which we must circle ‘fact’ or ‘opinion’, or a. or b. In which I must pretend that this is not abysmal and they must pretend they are trying, but really they are distracting me with stories about the moon and I am saying yes and then?

I brought stickers and markers and paper to the event so as to beguile some children in the audience and thus get them to collaborate with me on this reading report.

Kindergarde’s actors included Cyril Jamal Cooper, Mandy Khoshnevisan, Caleb Haven Draper, Norman Muñoz, Juliet Heller, Shaye Troha. It was produced by Dana Teen Lomax, directed by Chris Smith and set/costume design was done by Patrick Maloney.

Play and playlets included: “December 16, 2006” by Robin Blaser, The Carpet Square by Sarah Ann Cox, Throat Bird by Camille Roy, “Apricot Madness” by Rosmarie Waldrop, The Night I Walked Into The Jungle by Bhanu Kapil, “Sunday Song” by Noelle Kocot, The Word Play by Douglas Kearney, Streetnamer on the Moon by Susan Gevirtz, Avant-Garde Exrercises by Juliana Spahr, “The Name of Things” by Edwin Torres, Young Willie Wonka by Brent Cunningham, The Jesus Donut by Jaime Corez, “All the Tea in China” by Charles Bernstein, Nakaloo by Juan Felipe Herrera, “8 December, 2006” Robin Blaser.



Things that there were:

a candy robot and “every time you licked it, you would go 2 seconds into the future”.

a sno-cone machine, a very level-headed one that would disturb no one with its delicious rocket because you could “throw a hundred clouds over it to make it quieter.”

an Olga who made the kids in on her street take communion with the glazed donut she bought. “That [donut] drawer was so beautiful, nobody said nothing.”

a galactic boulevard lullaby in which we touched the belly of cat to name streets on the moon. “Familiar as the sound of water out of the faucet calling your name” and “your car on rails sliding through the car wash.” (Upon which I was thinking of me, being 2 years old in a car seat and my mother, at the gas station, letting me stay in the car while it got conveyored through the wash-o-matic and she stood outside, waving. Her face eclipsed by a tsunami of water over the wind shield and the my apple juice flying threw the air, sticky cool and sweet on my face and hands.

also, a girl that lived in a hip hop shoe, a trombonist (Andy Strain) to punctuate with waahmp waahmp and lend a shiny brassy air to the theatrics.

“Precision is not thinking of the future.” said the 9 year old who went into the jungle, said me to myself and took maybe too few notes on so many good lines as I was busy watching the kids in the audience. And so, precision has no written record, which is pure poetry everyone.

At the very end, there came the words “Kiss my ass” in a Robin Blaser poem, I think an edict to anyone who make floating unflotatious. I saw a boy in front of me lunge toward the man next to him and whisper, grinning and scandalized.

Intermission meant a kind of snowstorm of crushed popcorn all around the carpeted area outside somersaults and kids practicing splits.

Here are my three Kindergarde collaborations:

Talk with Savia during intermission.

S: Why are your hands so small?

A: because I am a small person.

This logic doesn’t please her. I offer my hand so we can compare sizing.

S: Can you move them like I this?

Then, we play spider-on-the-mirror.

S: Well, how old are you anyway?

A: Guess.

S: Six

A: No. How high can you count?

S; 21.

A: I am 10 more than that.

S: Well then, I guess you are not very small for that age.


Nascha and her art—between viewings of Kindergarde at the Museum of Children’s Art and at SPT.




And, an e-collaboration with Thelonious Arjun Rider: How to look at an organ fortress after walking into the jungle.

NOTES ON SQUINTING* (per an email from Bhanu Kapil.)

M-O-M!!!! [Each letter said aloud]. I need glitter! More glitter! Okay, so this is the tower and here are the underground tunnels and this is either the eye or the window. It's the eye. I need red glitter. And, okay, now come down here. And squint. What happens when you squint? Something happens to the glitter. The silver glitter does something and the red glitter goes kind of black. And this is the sea where you swim in to the underground tunnels. And these are the caves [starting jabbing the slab of red clay with a paintbrush] where the skeleton dragons and the sea horses and the regular dragons live. Can you see them? I need more glitter. And macaroni and cheese. Mom, I'm hungry.

*Whilst building with red clay, sea glass, glitter and turquoise paper on the floor of the living room in Colorado , on a Saturday morning. Thelonious, age 9, verbatim.

Monday, April 26, 2010

THIS FRIDAY: Laynie Browne and Lee Ann Brown!

Please join us for an evening with the Brown(e)s!

Macky Room, CCA Oakland **PLEASE NOTE SLIGHT CHANGE IN VENUE**
5212 Broadway at College
event begins at 7:30pm
$8-15 entrance, members and students FREE




Laynie Browne is the author of nine collections of poetry and one novel. Her most recent publications include The Desires of Letters, and Roseate, Points of Gold.


Lee Ann Brown is Assistant Professor of English at St. John's University in New York City. A poet and filmmake, her books include Polyverse and The Sleep That Changed Everything. She is also the founder and editor of the small press Tender Buttons.

In Case You Missed It: Truong Tran and Mary Burger

Truong Tran and Mary Burger were a delightful pair.

Here is the introduction by CAConrad:
"I don't like overt political content in poetry" is a sentence said by an increasing number of American poets. "I don't like overt political," from AWP to the MLA, "I don't like overt," each poet saying the same sentence as though they were the first to say it. "I don't like overt political content in poetry, I don't, no I don't. I prefer political FREE poetry in my poems!" American poets, as complicit as any tax-paying American funding American invasions, occupations, paying for suffering completely impossible to imagine. It's safe to say that Canadian poet Aaron Vidaver doesn't like "overt war" in our world. He witnessed firsthand the brutality of Canadian police against the direct-action housing squatters known as The Woodwards Squat in 2002. His collection of interviews and writings by the squatters were compiled into the book Woodsquat. The everyday bravery for shelter and food on the back of decaying empire. In 2009 at the EcoNvergence Conference in Portland, Oregon, Vidaver read his poems with fellow travelers on the heels of the amazing keynote address by Noam Chomsky, and presented a workshop and talk on his political work with Woodsquat.

Dorothy Trujillo Lusk is also Canadian, and channels for us the weird and the weirdest in the face of an angering empire. She said in an interview with Donato Mancini, "Myself I’d like to take back ‘cunt’ as a term of pejorative rage, I want to make it bad again, to call people ‘You fuckin’ cunt!’" She refers to herself as a "contradictivisischist." On the Official Facebook Dorothy Trujillo Lusk Fan Club Page you can find the interview with Rob McLennan, where he asks her how her first book changed her life. She said, "Completely, in that I now had an identity not appended to father, husband, boyfriend or gay male best friend and that it could be verified by reading the cover and body of the book. I had been one of those disposable young women of weak social and class position that are there on sufferance and are casually punted off the field." Later when McLennan asks Lusk what made her write as opposed to doing something else, she said, "I second guessed my sketchbook notes at art school into what I unlaughingly called immaculate conceptualism. I theorized the life and possibility out of every single idea that could have become art. From this disappointment came the apprehension of language’s supple polyvalency and the ability to interrogate that which remained restrictive in visual/conceptual art."

PLEASE WELCOME AARON VIDAVER AND DOROTHY TRUJILLO LUSK

In Case You Missed It: Aaron Vidaver and Dorothy Trujillo Lusk

We were sooo very lucky to have the amazing Aaron Vidaver and Dorothy Trujillo Lusk with us! They both gave a dynamic reading.


Here is the introduction by CAConrad:

"I don't like overt political content in poetry" is a sentence said by an increasing number of American poets. "I don't like overt political," from AWP to the MLA, "I don't like overt," each poet saying the same sentence as though they were the first to say it. "I don't like overt political content in poetry, I don't, no I don't. I prefer political FREE poetry in my poems!" American poets, as complicit as any tax-paying American funding American invasions, occupations, paying for suffering completely impossible to imagine. It's safe to say that Canadian poet Aaron Vidaver doesn't like "overt war" in our world. He witnessed firsthand the brutality of Canadian police against the direct-action housing squatters known as The Woodwards Squat in 2002. His collection of interviews and writings by the squatters were compiled into the book Woodsquat. The everyday bravery for shelter and food on the back of decaying empire. In 2009 at the EcoNvergence Conference in Portland, Oregon, Vidaver read his poems with fellow travelers on the heels of the amazing keynote address by Noam Chomsky, and presented a workshop and talk on his political work with Woodsquat.

Dorothy Trujillo Lusk is also Canadian, and channels for us the weird and the weirdest in the face of an angering empire. She said in an interview with Donato Mancini, "Myself I’d like to take back ‘cunt’ as a term of pejorative rage, I want to make it bad again, to call people ‘You fuckin’ cunt!’" She refers to herself as a "contradictivisischist." On the Official Facebook Dorothy Trujillo Lusk Fan Club Page you can find the interview with Rob McLennan, where he asks her how her first book changed her life. She said, "Completely, in that I now had an identity not appended to father, husband, boyfriend or gay male best friend and that it could be verified by reading the cover and body of the book. I had been one of those disposable young women of weak social and class position that are there on sufferance and are casually punted off the field." Later when McLennan asks Lusk what made her write as opposed to doing something else, she said, "I second guessed my sketchbook notes at art school into what I unlaughingly called immaculate conceptualism. I theorized the life and possibility out of every single idea that could have become art. From this disappointment came the apprehension of language’s supple polyvalency and the ability to interrogate that which remained restrictive in visual/conceptual art."

PLEASE WELCOME AARON VIDAVER AND DOROTHY TRUJILLO LUSK

In Case You Missed It: Thanks Charming Hostess and Ammiel Alcalay!

We had such a great night a few weeks back with Charming Hostess and Ammiel Alcalay.

Here is the introduction, written by CAConrad:
Sandy Hotchkiss's 7 Deadly Sins of Narcissism are: shamelessness, magical thinking, arrogance, envy, entitlement, exploitation, and bad boundaries. The conservative journal The American Thinker's article about Ammiel Alcalay titled "Poetry, terror and political narcissism" has by its very title violated the 2nd Deadly Sin of Narcissism "magical thinking," or, dumping their own shame onto others. A true narcissist will accuse others of narcissism, in fact will probably do so multiple times in a day without fail. Ammiel Alcalay a political narcissist? There's NO DOUBT that The American Thinker is paying close attention to the movements, thinking and writings of Alcalay. You might even say they're avid readers of his work. The accusation of his "overriding need to sympathize with Arabs..." and that in 2003 "he coordinated an anti-war New York poetry event at which he lambasted President Bush, the war in Iraq, and Israel--and implored the audience to advance pro-Arab platforms at future literary and academic events." This is narcissism? The desire for people to live in their homes without bombs and drones flying overhead and clean water and a viable, caring government is narcissistic? The American Thinker must have thought the 6th Deadly Sin of narcissism was ANTI-EXPLOITATION when it is really EXPLOITATION. Although the right to be free of tyranny might be viewed as a Freudian form of healthy narcissism; a hope for autonomy to pursue thoughts and writings which follow thoughts. In a world of disinformation, the sawed-toothed close readers of Alcalay in The American Thinker brutally misinform, "Alcalay and his type draw together extreme leftist sharks and deliberately encourage misunderstanding, misapprehension and anarchy. Is this really the kind of education that public, taxpayer-funded universities and parents should have to pay for?" Please welcome the man who played badminton with Charles Olson when he was five-years-old, and grew up to infuriate those who truly violate the 7 Deadly Sins of Narcissism, the shameless, the arrogant, the entitled, the exploitive and envious oil and war loving neo-cons, Ammiel Alcalay.


And here is a reading report by Robin Tremblay-McGaw:

9 April 2010: Friday night. Rushed from sweaty yoga to pick up daughter, bring her home, swallow food (hello family), and then arrive at Timken Hall at California College of the Arts just in time for Charming Hostess and Ammiel Alcalay. I knew nothing about Charming Hostess and had no idea what to expect. This three person ensemble blew the audience away. Charming Hostess consists of the voices of Jewlia Eisenberg (who also plays harmonium)and Cynthia Taylor, with percussion by Michael (whose last name I didn't quite get and isn't listed on their web site. Sorry Michael!) Charming Hostess performed pieces from Bosnian writer Semezdin Mehmedinović's Sarajevo Blues translated by Ammiel Alcalay and a variety of other work, including a song about gender compliance sung in the Judeo-Spanish language Ladino. They then brought the movingly discrepant girl-group sound to the song "Death is a Job." You can hear a recording of this HERE. Powerful and good stuff. Look for them this summer at Yerba Buena Center for the Arts in San Francisco.


After a short intermission, Ammiel Alcalay took the stage. Alcalay has been reading in the Bay Area for the last two weeks, with appearances at Mills College and the Poetry Center. On Friday night, Alcalay began by referencing the introduction for him that CA Conrad wrote and Samantha Giles had just read. Conrad's introduction revisited the incendiary American Thinker 2005 article, "Poetry, Terror and Political Narcissism" in which author Alyssa Lappen writes about Alcalay's work and his criticism of the U.S. and Israel, making the claim that Alacalay is pro-Palestinian and therefore, implicitly, pro-terror and a political narcissist! I think it was Conrad in his intro or either Alcalay himself who suggested that in some ways the American Thinker article represented one of the few public engagements with his work. Because Alcalay's writing is overtly political,contestatory, and wide ranging in its hybrid and multiple forms from journalism, academic criticism, poetry, prose, and translation, Alcalay feels as if his work is in a critical vacuum. People, particularly on the East Coast, according to Alcalay, see his various engagements, his multiple points of attack, as separate endeavors. Alcalay said that on the West Coast, people seem to take a more integrated approach to his body of work.

Alcalay read from several of his books, including Scrap Metal and from the warring factions. Alcalay said that "a lot of my work is a response to my work," and he advocated that writers read critically their own body of work. Alcalay's new book, Islanders, contains writing from thirty years ago. This intervention in his own work proves to be a rich and engaging strategy for re-thinking, re-visioning and re-interpreting one writer's interaction with a complicated and fraught world. Alcalay makes an example of himself, and spoke about historicizing the many versions of "I" and "self" that he is, and has been. Here's a sampling of some of his work. These pieces are from the warring factions. * indicates a page break.

Miró is in The Museum of Modern Art.

Miró is in Sarajevo.

A famous playwright is on stage at Symphony Space and over the air on NPR.

The announcer calls me twice during a break to find
out how to pronounce the name Izeta.

Izeta is Miró's wife.

They have a dog.




It is December 1st, 1993.

*

Certain people say we should always go back to nature.
I notice they never say we should go forward to nature.
It seems to me they are more concerned that we should
go back, than about nature. If the models we use are the
apparitions seen in a dream or the recollection of our
prehistoric past, is this less a part of the nature or realism
than a cow in a field? I think not.

The role of the artist has always been that of image maker.
Different times require different images.

Today, when our aspirations have been reduced to a desperate
attempt to escape from evil, and times are out of joint,
our obsessive, subterranean and pictographic images are
the expression of the neurosis which is reality. To my mind
certain so-called abstraction is not abstraction at all,
on the contrary, it is the realism of our time.

*

Adolph Gottlieb
1947

*

no pyramids dot the skyline



in the seats of power of



this crumbling empire

*


the ghosts of industry eat
this old half city bridge
of nevermore again
eat Glamoć and
Grahovo
eat these years
(pg s 3-7)


suddenly like shapes of living stone clothed in the light of
dreams I tore the veil the shrouds which wrap the world
the frost of death the flood of tyranny a paradise of flowers
within which the poor heart loves to keep the earnings
of its toil a common home stains of inevitable crime
pride build upon oblivion to rule the ages that survive
our remains violence and wrong an unreturning stream
the grief of many graves snow and rain on lifeless things
this is not faith or law opinion more frail or life poisoned
in its wells that delights in ruin as endless armies wind
in sad procession the earth springs like an eagle even
as the winds of autumn scatter gold in the dying flame
we learned to steep the bread of slavery in tears of woe
these faded eyes have survived a ruin wide and deep
which can no longer borrow from chance or change
what will come within the homeless future that gold
should lose its power and thrones their glory that love
which none may bind be free to fill the world like light
whose will has power when all beside is gone faint accents
far and lost to sense of outward things some word which
none here can gather yet the world has seen a type of peace
some sweet and moving scene returning to feed on us
as worms devour those years come and gone like the ship
which bears me in this the winter of the world (89).


Alcalay's bio from the Small Press Traffic blog here:

Poet, essayist, translator, and editor, Ammiel Alcalay returns to San Francisco to read from his new book --and first published novel-- ISLANDERS (City Lights Books, 2010) and to talk with the audience about the concerns of his work as writer, educator, and literary activist.

Born and raised in Boston, is a first-generation American, son of Sephardic Jews who emigrated from Serbia to the US after the second World War, Alcalay teaches at Queens College, New York, and at the CUNY Graduate Center, where he directs Lost & Found: the CUNY Poetics Document Initiative.

He is the author of *After Jews and Arabs: Remaking Levantine Culture* (U. Minnesota), and *Memories of Our Future: Selected Essays: 1982-1999* (City Lights). He is also the editor and translator of *Keys to the Garden*, an anthology of new Israeli writing, Semezdin Mehmedinovic's *Sarajevo Blues* and *Nine Alexandrias*, and *Outcast* by Shimon Ballas (all published by City Lights).


About Charming Hostess, again, courtesy of Small Press Traffic:

Charming Hostess is a whirl of eerie harmony, hot rhythm and radical braininess. Our music explores the intersection of text and the sounding body-- complex ideas expressed physically, based on voice and vocal percussion, handclaps and heartbeats, sex-breath and silence. Explore their awesomeness at their website.

Poetry is a Reading of the World: Ammiel Alcalay, Part Two

Ammiel Alcalay: Part Two

Excerpts from Alcalay's "Local Politics: The Background as Foreward" from his book Memories of Our Future: Selected Essays 1982-1999 publshed by City Lights Books:

"...my experience in presenting unknown or marginalized literatures has taught me that an extremely wide net needs to be cast in order to create the conditions through which such work can find a productive space in Amercian culture, a place where poets and writers can get to it and begin relating to distinctly new forms, idioms, sensibilities and experiences as part of their own vocabulary. Casting such a net has meant turning into a kind of full-service bureau through which I could both help create the conditions for reception of works and then carry those works over in a variety of ways. Within these different roles, my work has spanned a range of cultural, political, and historical concerns. As someone barely born here (in larger historical/chronological terms), much of my work has involved the process of both finding and losing my "self" within the gaps I find in American discourse, gaps primarily having to do with either the lack or the suppression of any tangible global political and historical space or consciousness, however these end up getting defined.

Part of the difficulty of working through such a situation is that I feel as if I have embarked upon an enormous journey only to come back to where I started from: in my case, a distinctly American language and American idiom, only to wonder what happened along the way........

Two crucial geographical areas and states of mind on this map have been the Middle East and the Balkans; involvement in these areas has meant confronting deep pockets of resistance to change of any kind, in both expected and unexpected places.....

Poetry, and language perceived or filtered through the sensibility of poetry's value, still resists the marketplace, no matter how hard some may try. As Jack Spicer wrote: 'A poet is a time mechanic not an embalmer....Objects, words must be lead across time not preserved against it...' The connection between words and world, as well as the consequences of such connections, is something we must never lose sight of; as Adonis, one of this century's greatest poets has written:'The writing of poetry is a reading of the world and the things in it, a reading of things charged with words, and of words tied to things....Language, viewed from this perspective, is not a tool for communicating a detached meaning. It is meaning itself because it is thought. Indeed, it precedes thought and is succeeded by knowledge....Poetry, according to this definition, is more than a means or a tool, like a technology; it is, rather, like language itself, an innate quality. It is not a stage in the history of human consciousness but a constituent of this consciousness' (xii-xv).

Monday, April 19, 2010

THIS SUNDAY: KINDERGARDE!

Small Press Traffic and The Creative Work Fund Proudly Present:

Kindergarde: Avant-garde Poems, Plays, Stories, & Songs for Children World Premier
Sunday, April 25th, 2010 5:30 p.m.
California College of the Arts, Timken Hall 1111 8th Street, San Francisco
$5 entrance/noone turned away for lack of funds


What do cutting-edge, experimental writers have to say to children? Don't miss this opportunity to find out! Featuring: Jesus Donut by Jaime Cortez Avant-Garde Exercises by Juliana Spahr Young Willie Wonka by Brent Cunningham The Carpet Square by Sarah Anne Cox Nakkaloo by Juan Felipe Herrera Streetnamer on the Moon by Susan Gevirtz The Night I Walked Into The Jungle by Bhanu Kapil The Word Play by Douglas Kearney Throat Bird by Camille Roy

Also Featuring the Poetry of:
Robin Blaser, Noelle Kocot, Edwin Torres, Rosmarie Waldrop, and Charles Bernstein !!


This is experimental poets' theater at its best! Under the Artsist Direction of Dana Teen Lomax, Directed by Chris Smith and with Sets and Costumes by Patrick Maloney Kindergarde is sure to stir your imagination and open your head! Join us!

THIS FRIDAY: MARY BURGER and TRUONG TRAN

Please join us for a reading on "bodies" with Mary Burger and Truong Tran.

Friday, April 23rd
Nahl Hall, California College of the Arts
5212 Broadway, Oakland
event begins at 7:30pm
$8-15 entrance/members and students FREE





Mary Burger has spent the last three years or so training as a landscape architect, and learning new meanings for 'form' and 'materiality.' In that time she accumulated a collection of prose writings that will be published by Litmus Press under the title Then Go On. Other books include A Partial Handbook for Navigators, Sonny, and The Boy Who Could Fly.



Truong Tran is a poet and visual artist. His publications include The Book of Perceptions, Placing The Accents, dust and conscience (awarded the San Francisco Poetry Center Book Prize), within the margin, and Four Letter Words. Truong lives in San Francisco where he is currently teaching poetry at SFSU and Mills College.


See you there!

Monday, April 12, 2010

THIS SATURDAY: Aaron Vidaver and Dorothy Trujillo Lusk

Please join us for a night of incredible-ness.

Saturday April 17, 2010
7:30pm
Timken Hall/CCA Campus San Francisco
1111 8th Street
$8-15 entrance/members and students FREE





Dorothy Trujillo Lusk is a Vancouver student who was born and raised in the Ottawa Valley of Quebec and Ontario. Her books include Oral Tragedy, Redactive, Volume Delays, Sleek Vinyl Drill, Ogress Oblige and the forthcoming Decorum and Dazzle Camo. Find her at EPC at http://epc.buffalo.edu/authors/lusk/.



Aaron Vidaver is a writer, archivist, editor and co-researcher with the Pacific Institute for Language and Literacy Studies. His sequences Unsquatted Houses and The Market Prefers appear in the collaborative book 49 19. 47 - W 123 8.11 (with Roger Farr and Reg Johanson) and Parser. Find him at his blog at http://vidaver.wordpress.com/about/aaron-vidaver/

Wednesday, April 7, 2010

THIS FRIDAY: Charming Hostess and Ammiel Alcalay

Please join us THIS FRIDAY for a performance by CHARMING HOSTESS and a reading/discussion with AMMIEL ALCALAY! It's going to be amazing!


Friday April 9th; event begins at 7:30pm
Timken Hall, CCA SF
1111 8th Street, SF 94107
$8-15sliding scale; members and students FREE

Charming Hostess is a whirl of eerie harmony, hot rhythm and radical braininess. Our music explores the intersection of text and the sounding body-- complex ideas expressed physically, based on voice and vocal percussion, handclaps and heartbeats, sex-breath and silence. Explore their awesomeness at their website.





Poet, essayist, translator, and editor, Ammiel Alcalay returns to San Francisco to read from his new book --and first published novel-- ISLANDERS (City Lights Books, 2010) and to talk with the audience about the concerns of his work as writer, educator, and literary activist.

Born and raised in Boston, is a first-generation American, son of Sephardic Jews who emigrated from Serbia to the US after the second World War, Alcalay teaches at Queens College, New York, and at the CUNY Graduate Center, where he directs Lost & Found: the CUNY Poetics Document Initiative.


He is the author of *After Jews and Arabs: Remaking Levantine Culture* (U. Minnesota), and *Memories of Our Future: Selected Essays: 1982-1999* (City Lights). He is also the editor and translator of *Keys to the Garden*, an anthology of new Israeli writing, Semezdin Mehmedinovic's *Sarajevo Blues* and *Nine Alexandrias*, and *Outcast* by Shimon Ballas (all published by City Lights).