The Living Poetry Project and NEVERMORE

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We would love to consider your poetry
to be featured at NEVERMORE: METRO Immersive Arts Festival in Van Nuys on October 29th, from 11 AM – 5:30 PM. We are selecting poems to be included on Poetry Umbrellas, Water Bottle Labels, and Pinata Prizes for an audience of 500 participants.

Audiences will process from hub to METRO station with the umbrellas, creating a moving, audience-generated installation as an artwork in itself. Poems will also be printed on water labels to be grabbed with relief, and will stuff pinatas that line the festival, waiting to be broken and have their prizes claimed!

HOW TO SUBMIT
We will be accepting submissions from August 1st – September 30th. Email your submission to nicellecdavis@gmail.com. Please include “Nevermore” in your subject line. All submission will receive a response by October 8th in which you will be informed if your poem will be an umbrella, water bottle, or pinata prize.

Poems may have been previously published, but please let us know who to credit.
Shorter poems preferred for umbrella and water-bottle publication.
Longer poems are will work for pinata poetry.

WELCOME to NEVERMORE

NEVERMORE: METRO is an Immersive Arts Festival in Van Nuys on October 29th, from 11 AM – 5:30 PM.

The Woodly Park Poetry Hub is part of a broader immersive festival centered around the works of Edgar Allan Poe – a haunting on the Valley bus. In the world of Nevermore, the Orange Line is transformed by the escaped works of Edgar Allan Poe, which have mingled with local legends and Mexican folklore and haunt six METRO stations.

This poetic sandbox adventure puts the audience in the driver’s seat for one day (11 AM – 5:30 PM) to discover Van Nuys, meet LA’s premier literary and artistic companies, dine with local street vendors, and explore the visceral power of poetry as never before.
For more information about this event please visit: https://www.facebook.com/nevermoremetro/

Nevermore is a project of Theatre Magnet, a subsidiary of Artist Magnet, and RENT Poet. Nevermore is funded in part by a City of LA Artist-in-Residency and the Creative Economic Development Fund (CEDF) with support from the Surdna Foundation, the Center for Cultural Innovation (CCI) and the City of Los Angeles Department of Cultural Affairs (DCA). Additional support comes from the LA Tourism & Convention Board, METRO, the Office of Councilmember Nury Martinez, Eclectic Company Theatre and our community partners.

On the Island of Caliban at The Edison Nov. 4th !!!

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Wednesday, November 4th

7:30 PM

at The Edison:

108 W 2nd St, # 101, Los Angeles, California 90012
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On the Island of Caliban is a modern sequel to William Shakespeare’s The Tempest and retelling of the Caliban story. In the desert of Los Angeles, we meet the afterlife, the fireworks, and the ultimate outsider–Caliban, carrier of food and water,

This “Caliban Story” is in part inspired by my home. I am located in the Antelope Valley—meaning, I am situated between religious compounds, prisons, schools, aerospace, and Joshua Trees. This isn’t an easy place to live, but I love it. It is a place that defines me and redefines me—maybe it’s a place that defines and redefines Los Angeles and the American Dream—maybe? The Antelope Valley is as far north as Los Angeles Country reaches. LA often refers to us as “the devil’s armpit.” We are the last train stop and often the place LA sends all they don’t want including the hidden, displaced, lost, poor, and forgotten. Here is a gathering of people who must find their human after being told they have none.

 Ultimately, On the Island of Caliban is about isolation. The word isolation comes from the Latin insulatus which means “made into an island.” In our play On the Island of Caliban, Caliban’s only desire is to find an opportunity to love and be loved, however such opportunity does not exist for abandoned Caliban.

I wanted to explore what happens when basic needs are never met? Is there a power greater than love—a word that encompasses the kindness and mercy a character like Caliban requires? Maybe something—something like, Grace? It is a word that is often described as broad, meaning it has no definition—no easy explanation. It is beyond classification. I’m afraid On the Island of Caliban is similar. It isn’t something to be understood; it is felt.

I wrote On the Island of Caliban because I felt intense isolation—a lack of humanness. I never would have dreamed of turning it into a play (a play would require many players, and I was spending endless days / nights alone in a room, writing). It wasn’t until I ran into Anthony M Sannazzaro who asked me, “Are you working on anything real?”  “I’m working on something that is making me really crazy” I told him. “I’d like to work with you on this,” he said.

At the end of The Tempest, Caliban is left and forgotten by those who leave him. What happens to such a character? How can one reflect if there is no one to cast back the light of being? Such a character breaks—fractures into many parts. These parts exist in memory, dream, and fever. They fight with themselves. They fight each other. Caliban straddles the mirror; he pivots on the fine line between self-loathing and a world that abhors him. There is nowhere for him to go—he belongs nowhere—he is beyond identity—he is all of us and he is utterly singular.

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Written by Nicelle Davis
Directed by A. M. Anthony M Sannazzaro

Featuring the Talents of:

Stage Directions/Sycorax: Allaire Koslo
Ariel: Jeffrey Gardner
Miranda: Lisa Blacker
Prospero: Andrew Blacker
Operating System: Melanie Jeffrey
Caliban 1: Fransico Cedeno
Caliban 2: Jonathan Janssen
Caliban 3: Beach
Caliban 4: Cynthia Johnson/
Camille Willette
Caliban 5: Nyssa Newman
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On the Island of Caliban is a brand new play-in-verse continuing William Shakespeare’s The Tempest. Focusing on the character of Caliban, this modern language deconstruction of the bards classic text, presents an “everyman” Caliban for today’s society; Caliban tackles universal experience by exploring the realities of what’s left him/her alone on the island.

Split into five separate personae, and played by many genders, ages, or races, Caliban, is kept company by malevolent stage directions, Ariel’s chastising severed-tongue, and his personal revelations. In the disillusioned states of dreaming, memory, and illness, Caliban discovers the truth by grace that resides in himself/herself.

Rounding out the cast of players is a withered forgetful Prospero, a silenced domesticated suburban Ariel, and a tortured Miranda—all longing for something other than what they bargained for.

Through emails, mixed media, imaginative design, and poetics, On the Island of Caliban violently thrashes after The Tempest to look unflinchingly at the damage left after the Shakespeare’s storm.
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Join Red Hen Press for their new special, formal Downtown LA reading series, “Fluid.”

**Dress Code is sophisticated, no athletic wear (gym shoes, shorts, hoodies, baseball caps, etc…) or uncollared shirts allowed.**

Admission is free with a two drink minimum.

Doors open at 7:30PM. This is a 21+ event. Please have a valid ID ready.

A blend of the past, present, and future, The Edison inspires the romance of such legendary nightspots as The Cocoanut Grove and Crio’s while remiding us that we live in a City of dreams and at a time of invention. For more information on The Edison, please see www.edisondowntown.com.

The Edison !!! Wednesday September 2nd. I’ll be in fur, latex, and fishnets, you?

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The first installment of Fluid will be at The Edison, featuring Louise Wareham Leonard and MacGillivray, with appearances from Tom Janikowski, Kim Dower, and (me) Nicelle Davis.

LOCATION INFO:

The Edison

108 W. Second St.
Los Angeles, CA  90012
213-613-0000

WHY IS THIS EVENT IMPORTANT

Red Hen Press will launch the first of what hopes to be a series of readings at the gorgeous Edison in LA. The series will be called Fluid as in the movement of water during a time of drought–poetry at a time of oppression and silencing.

Please come see the poetry show on September 2nd. Please be mindful that poetry was designed to be heard. By supporting this reading you will be supporting future readings at this location.

This opening show will prove that poetry is sexy and provocative–it is a show of heat and ice. It is Fluid.

WHAT IS THE EDISON

The Edison is a steampunk themed nightclub located inside the Higgins Building basement in Los Angeles, California. The Edison opened in 2007. The Higgins Building basement was Los Angeles’ first ever power plant, built by Thomas Higgins. After spending several years derelict and underwater, it was rescued by entrepreneurs Andrew Meieran and Marc Smith, who made a post-industrial steampunk venue for Los Angeles nightclubbers. For more information visit: https://www.edisondowntown.com/

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Let me introduce you to my outfit for the event along with the designer behind this fishnet-latex-fur genius, Pavlina Janssen.

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What to Wear to The Poetry Circus: An Interview with Proto-Organic Artist

ND: Hello Pavi. I’m finding it oddly difficult to find a “normal” way to start a conversation about costumes and costuming—maybe we can begin with our beginning—talk about the first project we worked on together—or, the first costume you made for me.

PJ: Oh my goodness, do I even remember the first costume I made for you? Oh what was it? Was it the honey dress?

ND: Oh no, it was way before that. It was for the cover of Becoming Judas. Remember, I brought you a turkey carcass.

PJ: Oh. Yeah.

ND: In my defense that turkey sat in bleach for two weeks in my kitchen sink before I brought it to you, but…

PJ: I don’t think I used any of those bones at all.

ND: You said you wouldn’t take it because of salmonella and you would die.

PJ: But I did get sick, but I don’t think it was your fault.

(We giggle; I guess, because even illness is funny between girlfriends.)

ND: So, do you remember anything about making that costume?

PJ: I remember that you gave me some interesting piece to start with, things like bones, and feathers, and your negligee and said do what you do; and I did.

(Giggling)

Honestly, I don’t really remember much about that time; in fact I don’t really remember much of when I’m making things. I just kind of put it together the way it feels it needs to go.

ND: So creating is an organic experience for you.  Which makes for a good transition into discussing your overall aesthetic –you refer to your work as being Proto-Organic Art—what is Proto-Organic?

PJ: Proto-Organic is a new way of looking and arranging things you’ve already seen before, like looking at the organic aspects of inorganic things or looking at things that make them seem organic or feel like they blend into our natural world because everything is technically homogenous when we get down to the core. I would try to make something

ND: Yeah, yeah. First of all, just to describe for those who haven’t seen your art yet—besides costumes you also make Proto-Organic canvases. These portraits, if you will, are made of dollies, but they are dollies that are made to look like flesh under a microscope—and on top of this you collage other organic materials.  Maybe to give a more common place comparison, your art is beautiful like a spider’s web.

I remember when I first saw it I was overwhelmed and couldn’t help but call it beautiful out loud. You responded by saying: yeah that is an exciting piece because whoever owns it will get to see it rot and decompose before their eyes. Do you want to expand on the joys of watching things come undone?

PV: Sure. I just think it’s really beautiful and fascinating to see things that are organically deteriorating; I’m interested by the visual of erosion or things that are naturally slowly rotting away or things that get deteriorating though bacteria—you know—those visually chaotic textures. Interesting enough, when I would experiment with inorganic materials it would still come out looking alive. I work to make a new type of organic image using inorganic materials, such as glitter or plastic, and depending on how you affect them they can end up looking organic and natural.

ND: Yes, organic and natural: I think most of the materials that we have worked on together have been teeth and latex, or teeth and condoms.  What do you think teeth and condoms have in common?

PJ: They either come from or go into your body.

(More giggling.)

ND: So for you, the making process is organic and it reflects organic materials. You named off all the properties of the organic that you find beautiful—words like decomposition, rot, and erosion; so for the person who all those words terrify, could you help them understand why Proto-Organic art is beautiful?

PJ: I don’t know if everyone is going to find it beautiful. I think that if I can make something that affects people—positively or negatively—then I’ve done something. There are a lot of organic textures that do bother people—a lot of people don’t like to see things like that—and I think that’s part of my fascination with creating Proto-Organic art; if I can create a texture or bring about an emotion that makes you feel the way something in nature would make you feel…then that’s good.

I think you and I think it is beautiful, but most people might say…ohhhh! That looks like a rotting carcassthat’s gross—I don’t want to touch that. But it is not a rotting carcass it is a piece of art or costume—and I’ve done my job.

(More giggling.)

ND: That brings us to costumes and costuming; you are an icon in our community.

PJ: No I’m not.

ND: You are—you are; because you spent most of your life walking around town in costumes—for example this is the most natural your hair color has ever been, and you spent a lot of time making and wearing Alice in Wonderland costumes for street clothes—I would say most of your teens and early 20s you were Alice, do you want to talk about that?

PJ: I always like wearing costumes. I’ve told you this story before—I’d be walking around L.A. wearing my Alice in Wonderland dress and people would stop me on the street and ask, Oh so why are you so dressed up?

If I told them I was in a play, they’d be perfectly okay with it. But it I gave them no reason they’d be really put off by it. There is a very fine line between clothing and costume.

I liked to challenge people’s perspectives on costumes—to play with that line. I mean clothes are clothes. I happen to be wearing a dress that represents a character people are familiar with, but that doesn’t mean that it means anything more than that being a dress to me.

Humans are trained to see a certain kind of clothing as normal and anything that goes outside those standards is a costume or not clothes. If it’s not jeans and a t-shirt, your dressing up.

ND: Do you think costume cover-up or amplify who a person is?

I think it is both. I think that people think that they are covering up by wearing what they wouldn’t normally wear.  There is an underlining peak into their psyche. Whether they choose to dress up as a pirate, or a president, or a dinosaur, why would you choose that? You can dress anything, so why that choice? What does choice reveal about us—I like that question.

ND: What new projects are you working on?

PJ: I’ve been working on translating my collage art into fabric prints.

AND you’ve been wearing my costumes; they will be showcased at The Edison on September 2nd!

Boston, New York, and the Dress of Useless Treasures

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Monday night I leave for Boston. From Boston to New York. Than back to the beloved desert.

Touring with poetry is as awkward as it sounds. There is a lot of trading planes for trains, trains for buses, even the occasional hitchhiking (Yes, people still hitchhike, though I try to avoid this option.) I’ve gathered many stories along the way, some so true no one would believe them. I try to document some of these experiences so I might re-believe them when they popup as memories; I have countless photographs, sound recordings, and notebooks. I feel such analogy (for example blogging, Facebook, twitter, Instagram, and the list continues) is popular because we are all trying to figure out “if THAT really did just happen.” Social Media is Descartes monologuing on “The Passions of the Soul” only done collectively in the form of selfies.

Poetry is a little different from philosophy or analogues; I’m learning it is something beyond definition. It records everything except the actual event in order to kept the event ever present. There is no need to prove something “just happened” because with poetry the moment is perpetually happening. Poetry undefines; it follows possibility and I follow after poetry.

“Interesting” places I have slept because of poetry include: numerous floors, numerous couches (couches are great), sometimes there is a guest room (thank you Portland), construction sites, a ditch (long story), graveyards (spooky), a window ledge (Seattle), a park bench (San Francisco), on top of a pic-nick table (Paddington Station). There are locations without a place to stop. I keep safe by moving. I walk all night in such places. I have landed in locations that have felt like palaces and I’ve spent the night in a door-frame. I’ve been given generous honorariums and I’ve had people hand me a dollar thinking it might help me on the streets.

I’d be lying if I said I didn’t like this. In fact, I love this. I’ve learned so much about people and places by searching, sharing, and risking. I’ve seen how others live–what / who they love and how they love it. Unfortunately, I’m unsure if this travel-voyeurism has helped me understand what / who to love or how to love any better; with poetry there isn’t much knowing, there is just being.

This week I will be in Boston. I will be in New York. I hope to be with you.

I made a dress just for this trip. There is (maybe too much) information about the dress in the videos below. The poetry film is by my friend Karyn Ben Singer; it is set in one of my most beloved locations in the desert, Antiques at the Barn. The interview is by my friend Edwin Vasquez. I hope to bring a little of the West to the East. Maybe bring some the East back to the West.

To sum it up, I wanted to make you something beautiful, it might be just a bunch of junk but with poetry and you it might just be beautiful.

What is The Dress of Useless Treasures: An Interview with Edwin

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Friday, July 10
Nicelle Davis reading from In the Circus of You in the BASH reading series at Brookline Booksmith at 7:00 pm. With Carina Finn and Gabrielle Klein. Free and open to the public.

Brookline Booksmith
279 Harvard Street
Brookline, Massachusetts

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Saturday, July 11
Nicelle Davis reading from and Cheryl Gross projecting short films and images from In the Circus of You at Berl’s Brooklyn Poetry Book Shop at 7:00 pm. Free and open to the public.

Berl’s Brooklyn Poetry Book Shop
126 A Front Street
Brooklyn, New York

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Sunday, July 12
Nicelle Davis reading from In the Circus of You in the New York Quarterly Reading Series at 6:00 pm at the Bowery Poetry Club. Free and open to thepublic.

The Bowery Poetry Club
308 Bowery
New York, New York

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What Is The Poetry Circus?

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The Poetry Circus

Want to know more about the Poetry Circus? Step inside my closet and I’ll tell you all about 1. what to wear 2. hair 3. rain 4. light 5. sound

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Final Call for the Poetry Piñata: If you have poems to share with children at The Poetry Circus please send them to nicellecdavis @ gmail . com

A Free Poetry Event Saturday, February 28th

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Poetry Merry-Go-Round Rides
with readings by:Lauren K. Alleyne, Laurel Ann Bogen, Chiwan Choi,

Brendan Constantine, Nicelle Davis, Kim Dower, Blas Falconer, Kate Gale, Melanie Jeffrey, Douglas Kearney, Ron Koertge,
Justin Wallace Kibbe, Suzanne Lummis, Katie Manning,

Eric Morago, Jacqueline Tchakalian, and Yvonne de la Vega.

Interactive poetry projects, activities, and crafts for the whole family brought to you by the Red Hen Press WITS program
and The Los Angeles Review.

Make your own maracas and Join The Children’s Poetry Parade ed by twirler Peggy Dobreer!

Simultaneous Poetry Writing based on your suggestions from RENT Poet and the Melrose Poetry Bureau!

Live circus acts including performances by Post Mortem Movement Theater!

At the Griffith Park Merry-Go-Round
4730 Crystal Springs Drive,
Los Angeles, CA 90027
(323) 665-3051

Bridgewater International Poetry Festival

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I’m getting ready to attend the Bridgewater International Poetry Festival. My suitcase is full of clown noses and feathers. I might have to dress in only clown noses and feathers. It is always exciting to preview new work–In the Circus of You won’t be released until March, but I will set a few of its poems free at Bridgewater.

I am really looking forward to being with other poets and their work–in many ways this is the best part of the writing life. Below are details about the sound poem project. Please feel free to contact me at nicelle c davis @ gmail . com if you have any questions.

 Bridgewater International

Poetry Festival

Saturday, Jan. 17 4:30 p.m. (B)

Nicelle Davis Invites You

to Become a Poem

To become a poem, you must locate and record an everyday sound such as the echoing voices in a school cafeteria or the kitchen where you cook your morning pancakes—the sound of your mother’s laugh or your father snore—the sound of sickness or joy—the sound of the street, your shower, the coffee pot, your sneakers.

This sound should both delight and disgust you. (For example, I love a good time yet often feel overwhelmed by all the voices in a crowded room—the sound of a party both delights and disgusts.)

Please record your found-sound using your phone, iPad, handheld recorder—basically, any portable recording device that can easily be brought to and played at the poetry reading. At the reading we will systematically blend our recordings into a symphony of noise. This collection of noises will be recorded and later set to music to create a more traditional Sound poem.

Sound poetry

From Wikipedia, the free encyclopedia

Sound poetry is an artistic form bridging literary and musical composition, in which the phonetic aspects of human speech are foregrounded instead of more      conventional semantic and syntactic values; “verse without words”. By definition, sound poetry is intended   primarily for performance.

Noise poetry

From Nikipedia, poetpedia

Noise poetry is those everyday noises—those dropped plates and roller-skates—those feet on the stairwell or the conversation at the table next to you. They are the sounds that promise music and threaten to drown you in waves of sound.

The Poetry Circus Needs a Poetry Piñata: A New Year for the Living Poetry Project

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This is a Free Event hosted by

IN THE CIRCUS OF YOU: An Illustrated Novel-in-Poem by poet Nicelle Davis and artist Cheryl Gross

http://www.rosemetalpress.com

Poetry Merry-Go-Round, Circus Acts, Kid Crafts, and Magic Shows

Poetry Merry-Go-Round Rides with Readings by:

Lauren K. Alleyne, Laurel Ann Bogen, Chiwan Choi, Brendan Constantine, Michael Datcher, Nicelle Davis, Kim Dower, Blas Falconer, Kate Gale, Mira Gonzalez, Melanie Jeffrey, Douglas Kearney, Justin Wallace Kibbe, Suzanne Lummis, Katie Manning, Eric Morago, and Jacqueline Tchakalian.

Interactive Poetry Projects,

activities, and crafts for the whole family brought to you by the Red Hen Press WITS program and The Los Angeles Review.

Live Circus Acts

including performances by Post Mortem Movement Theater!

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At the Griffith Park Merry-Go-Round

4730 Crystal Springs Drive,

Los Angeles, CA 90027

(323) 665-3051

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Please Runaway to the Circus with Us!

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If you can’t runaway; let your poems come with us!

Please send your poems to The Living Poetry Project

to go into this kid-sized Poetry Piñata

that will be broken open at The Poetry Circus!

Please submit your poems by Feb 15th to:

nicellecdavis @ gmail . com

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Sneak Peek: In the Circus of You

We’re excited to give you a preview of the cover of the Rose Metal Press spring release, IN THE CIRCUS OF YOU: An Illustrated Novel-in-Poems by poet Nicelle Davis and artist Cheryl Gross. The cover features artwork by Cheryl Gross and was designed by Heather Butterfield. The book launches in March. Subscribe now to be among the first to receive a copy! Preordering will begin in February.
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Evie Shockley says of In the Circus of You:

“Nicelle Davis’ newest book mythologizes pain, makes grief, anger, disgust, and fear bearable by transforming them into finely wrought poems. These poems are filled with sharp edges, dissections, illusions, and images of flight, both in their language and in the ways they occupy the page. They are perfectly matched by the drawings of Cheryl Gross, who translates Davis’ poetry into an equally grotesque, equally eloquent visual language. In the Circus of You is a visceral spectacle of controlled excess; it dismantles the three rings we use to contain our most domestic horrors and shows us the way through vulnerability to release.”

Douglas Kearney says of In the Circus of You:

“Accompanied by Cheryl Gross’s illustrations of stretched flesh and biomechanical anatomies, In the Circus of You writhes in a fever dream of divorce, depression, and an undercurrent of poverty. Nicelle Davis directs a cast of disfigured pigs, desiccated pigeons, and circus freaks in poems whose forms are often cinched with wasp-waisted girdles or filed into jagged angles. Never simple oddities, these afflicted characters and music amount to a harrowing account of loss and how one has to fracture herself in private to appear unbroken in public. Don’t miss Davis’ acts of lurching grace and terrible beauty.”

 

Proximity

There is an undeveloped field—no tract homes but holes

for rabbits, rattlers, packrats.

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A graveyard for broken appliances and flat tires—birds build nests in these abandoned round doors.

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Out of 365 days, we know 24 days of rain—life here

requires deep and extensive roots.

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Developers wait until dark to topple and stack Joshua Trees. It isn’t impossible to wake to a whole world reduced to a small heap—morning reminds us.

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This lot has been left new because of its proximity to the prison.

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Across the road is the Institution—minimum and maximum security—male inmates.

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I feel a snake at my feet.
You ask, Is everything ok?
Is ok. I say but shake like a rattle.

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It doesn’t seem like night falling, so much as stars rising. Day and night weighed equally—the horizon vanishes and the prison lights shine like earth bound stars.

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You light a cigarette. In the dark, I can see you breathing in the distance—a walking star.

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We steal a shopping cart to gather objects left in the desert. We have one night to make an apocalyptic go-cart.

What else would we do? What’s left to do?

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We collect what has been left behind by others. I find baby shoes and bullets—a full bucket of each.

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You find a shanty town made of broken chairs and sticks.

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In the dark, we imagine the worst—bullets in a baby’s foot—buckets full.

From the back of your truck, we watch the meteorite shower.

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The sun goes up like a string-puppet. The chairs’ being is to speak—

“Air Show 2014;

we were board here.”

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At the foot of the prison, people can watch without paying, fireworks. Independence Day, shots are fired at the sky while babies lose their shoes to snake holes.

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This is not the end of the world, but its edge.

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Footnotes

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Photos by Marcelles Murdock

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Words (and footnote photos) by Nicelle Davis

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Apocalyptic Go-Cart by Kevin Swiney

Three Poetry Readings in Two Days: Would love to murder, paint, and glitter you!

photo 32 This weekend (September 27-28) I have the privilege of giving three radically different readings at three different locations in Los Angeles. Three readings in two days  is notably a bit much– poor planning, maybe–a constant nearly narcotic need to always be with poetry, certainly. I can only hope to see friends and loved ones as well as poetry lovers at each event.

I like events; I like gatherings. I believe people are made human through experiences with other humans.

I get to run this poetry-read-a-thon with my son. To him, I’m sure it will feel like a form of slow torture–but he will be with words; I can only hope that words will eventually woo him as they did me as a child. I can hope. He will have my friend Debra to keep him company; even if he doesn’t entirely appreciate poetry when he grows up, I know he will be grateful that he had some of the most beautiful and smart babysitters during this mad poetry life. Please come see us. Please come play poetry with us. Here is a little about each event: Hand2

Event #1: Saturday 9/27, 4:30

WeHo Reads Noir: West Hollywood Library (625 N. San Vicente Blvd.) 

Edge of Town. POETRY. With a Noir. Touch. (4:30-5:15)
Take a ride with a group of bold poets who take us to the dark side…where
poetry isn’t always pretty!
 Michael Datcher (“Raising Fences”)
 Nicelle Davis (“Becoming Judas”)
 Suzanne Lummis (“Open 24 Hours”)
 Kim Dower (“Slice of Moon”)
 Charles Harper Webb (“What Things Are Made Of”)

When the amazing poet Kim Dower invited me to participate in the WeHo Read Noir event, I couldn’t say no. Noir isn’t just an art, its a way of life that I’m constantly falling into and chasing after. I was surprised when my son and his friends asked me “what is noir?” Well, what is noir? I had to ask myself. “Its shades of grey,” I told them, “its ambiguity.” “Huh?” the team of 5 to 10 year-olds responded. “Ok,” I said, “take these detective glasses, hats, shovel–take this bottle of fake blood–and lets look for clues to “who done it.” We all took turns being blamed for some part of a murder–because we are all part of the larger story–we all have blood on our hands.

We had fun being our own noir story; I’d like to continue this fun with you at the WeHo Reads Noir Event. I found all the stuff we need for murder; please come get bloody with me. Murderstuff

Event #2: Saturday, 9/27 6:30 PM

LAR @ Bergamont Station:

LAR_Logo_Web Building Bridges Art Exchange, Bergamont Station Arts Center, 2525 Michigan Ave. Unit F2, Santa Monica, CA 90404 This will most certainly prove to me my favorite reading. I won’t be voicing my own work, but reading selections from the upcoming LA Review issue. I love this journal, as I love all of Red Hen’s eggs. Bergamont Station is at the heart of art. It is beauty layered with more beauty. Please do not miss this event!

Join Red Hen Press for a special collaboration of poetry and contemporary art at the Bergamot Station Arts Center. Established in 2005, Building Bridges Art Exchange is dedicated to the promotion of national and international contemporary artists, providing a variety of international art exchanges, artist residencies and workshop programs. They will be joining together with Red Hen for the month of September to present poetry readings immersed in the artwork and exhibitions themselves. A portion of the proceeds from artwork provided by Jacqueline Tchakalian and Thom Dower will go towards our outreach program, Writing in the Schools. Gallery opening reception: Saturday, September 6th from 6-9:30 PM Poetry Readings: Saturday, September 13th: Laurel Ann Bogen, Jacqueline Tchakalian, Helene Cardona, John Fitzgerald Friday, September 19th: Kate Gale, Kim Dower, Brendan Constantine Saturday, September 27th: Los Angeles Review reading featuring BH James, Nicelle Davis, Michael Allen Loruss, Michael Cooper, Xochitl-Julisa Bermejo All reading events are free and begin at 6:30 PM. On-going exhibitions and artwork from: Thom Dower Jacqueline Tchakalian Shadow Portraits by Rachel X Hobreigh Deep Transparencies: A Hidden Universe by Petra Eiko Feminine Mystique/Treasures from the 21st Century by Barbara Fritsche, Michael Kluch, Tanya Ragir, Mary Cheung, Larry Schuster Building Bridges Art Exchange Bergamot Station Arts Center 2525 Michigan Ave, Unit F2 Santa Monica, CA 90404 Co-sponsored by Red Hen Press and Building Bridges Art Exchange For more info, click here: http://redhen.org/events/rhp-at-building-bridges/

art hand

Event #3: Saturday 9/28 7:00 PM

OMG–THE LAST BOOKSTORE: PLEASE GO TO THIS!!! PLEASE.

bookstore1 The Last Bookstore is the most magical place on earth. I plan on bringing a circus with me to celebrate this fantastic place. I can not tell you what a dream space this is; you must see it to believe it. Please, please go to this event. We need you. We really do. Every circus is only as magical as those who are there to see the magic. 453 S. SPRING ST, GROUND FLOOR DOWNTOWN LA  |  213.488.0599

Photo by Jason Hughes
Photo by Jason Hughes

Sunday, September 28th, 7pm: The Last Bookstore is pleased to welcome Kate Gale, with her new collection of poetry, Echo Light. She is joined by Red Hen authors Brendan Constantine & Nicelle Davis. Kate Gale is the Managing Editor of Red Hen Press and Editor of The Los Angeles Review. She teaches in Low Residency MFA programs around the country and serves on the boards of A Room of Her Own Foundation and Poetry Society of America. Kate is the author six librettos including Rio de Sangre, a libretto for an opera with composer Don Davis which premiered in October 2010 at the Florentine Opera in Milwaukee. Her latest poetry collections are The Goldilocks Zone and Echo Light. She is also the editor of several anthologies and blogs for Huffington Post.

 Brendan Constantine is a poet based in Hollywood. His work has appeared in numerous journals, most notably Ploughshares, FIELD, Zyzzyva, Ninth Letter, Poetry Daily, Verse Daily, ArtLife, PANK, and L.A. Times Best Seller, The Underground Guide to Los Angeles. His first book, Letters To Guns (Red Hen Press 2009), is now required reading in creative writing programs across the nation. His most recent collections are Birthday Girl With Possum (WriteBloody Publishing 2011) and Calamity Joe (Red Hen Press 2012). He has had work commissioned by the Getty Museum and he has received grants from the James Irvine Foundation and the National Endowment of the Arts. He is currently poet in residence at the Windward School and adjunct professor at Antioch University. In addition, he regularly offers classes in hospitals, prisons, shelters, and with the Alzheimer’s Poetry Project.  

Originally from Utah, Nicelle Davis now resides in Lancaster, California, with her son, J.J. Becoming Judas is her second book. Her first book, Circe, is available from Lowbrow Press. Her third collection, In the Circus of You, will be released by Rose Metal Press in 2014. Her poems have appeared or are forthcoming in The Beloit Poetry Journal, The New York Quarterly, PANK, SLAB Magazine, Two Review, and others. You can read her e-chapbooks at Gold Wake Press and Whale Sound. She is the director of the Living Poetry Project. She runs a free online poetry workshop at The Bees’ Knees Blog and is an assistant poetry editor for Connotation Press and The Los Angeles Review. She has taught poetry at Youth for Positive Change, an organization that promotes success for youth in secondary schools, and with Volunteers ofAmerica in their Homeless Youth Center. She currently teaches at Antelope Valley