Of course, what happens is, you write a post about innovative marketing
techniques and you troll off home and pick up S. Brecht's QUEER THEATRE and
you read descriptions of Jack Smith's performances in which no one seemed
quite sure whether anyone was in the audience because what sometimes seemed
the audience was at other times behaving as if it were the cast, and you
think .... seven, maybe, seminal, maybe, significant, maybe, and how did
they know that there was a performance supposed to be going on, because
someone in the bar said isn't jack doing something and you troll off down
to jack's place and you ring the bell but nothing happens and then some
friends of jack turn up and are they the cast or the audience and you ring
the bell again and jack finally comes down and says no one is coming but
you all might as well hear some records or something....

different stroking for different frolicking

there must be some possible forms of marketing that have yet to be imagined
that would enable people who don't know they would enjoy something to be
energised by that marketing, in which the market was the least important
aspect of the exchange

to revert - to a scary issue

>while emphasising that women and disadvantaged racial groups need all the
>means at their disposal to continue their revolutions for fully
>participatory economic, social and
>political roles

AND

>taking Kathy Acker to task for being incapable of 'genital love'

AND

>Surely Lawrence it is a utopian agenda to suggest (not that you are,
>personally) that a point can be reached at which issues of gender
>are not crucial in respect of poets and audiences - languages.
>Correction distopia.

AND

>we need to be more
>attentive and more proactive in our editorial and curatorial placements and
>interventions

For words worth, I do some searching for writers and some arrives unbidden.
My (our) record of gender split is not appalling (but partly because I (we)
have a particular delight in Carlyle's work and Glenda George's work and
include them as often as possible). My experience is that I have received
over the years many more unsolicited submissions from men and many more
unsolicited submissions from men of work that surprised me, amazed me,
startled me, disturbed me (and I have not received much of any of that
unsolicited), than I have from women, yet many of my favourite writers
are... (argh!). Whether this is because I have an inability to recognise
the innovations that some women are making, or because they don't send
stuff to me because they view words worth as too male, or because they
don't see words worth because I don't produce it frequently enough, I am
not sure. I was recently delighted to find Ellen Zweig again and be able to
include a piece by her in the new issue. Because of the infrequent
publication, I don't usually need to search for material (I usually seem to
have an appalling backlog of stuff I should have published six months ago).
The environment in which the work revolves is crucially relevant. I am
beginning to explore the connections between language and musical
composition in the work of sound artists and contemporary composers and my
initial contacts are with men. Will that initial focus block me from
contacts later with women sound artists and composers? It is often true
that the environment that develops in a place (or mag) can be offputting to
others. On THE OTHER LIST we are apparently not supposed to mention, (the
american one), there was much recently on Race & Gender prioritization and
on what was called in my Gay Liberation Front days TOKENISM which indeed
seems to have resulting in people leaving the list. I recently came across
a poem by a Xhosa writer who also writes in English. I particularly liked
one sentence and was interested in the whole poem. I was also fascinated by
his poems in Xhosa visually (Hausman, Schwitters), but could not read them.
Is it tokenism to ask him for work? His work is not the usual work I
publish in words worth, but if I think it deserves an audience within 'our'
context, 'our' audience, do I ask? Would he be interested in 'our' work?
Would I be misappropriating his work if I printed a Xhosa poem in a mag
that also included Sound Poetry? Since I can't read Xhosa, what is my
interest in the work other than the way it relates to work from a
European/American culture which has no 'linguistic' meaning? Would he be
the first non-white in the mag? Do I know the race of everyone I have
published? Would I be building bridges or appropriating work into an
inappropriate context?

>bridges to build, links to be made
>many more people who are actually, in my limited experience,
>pretty interested in the writing - if they
>get to hear it / see it
>you get the drift hear - other contexts, other audiences than
>those we already know

quite. if they get to hear/see.
and other marketing strategies. because we are trapped in marketing. what
ever strategies we employ to reach other audiences than those we already
know are forms of marketing.

Proactive. he! he!  I do like words. he! he! (or she! she!?)

I am sorry to go on so long.

This seems to be addictive.

Once you start you can't stop posting to the list.

Save me, I've lost my stone.




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