Tag Archives: naropa

Women of Naropa Event


Bombay Gin editorial board would like to invite you to Thursday’s Women of Naropa Reading!

Along with the earth-shaking Anne Waldman, the night will include performances by Lisa Birman, HR Hegnauer, Maureen Owen, Andrea Rexilius, Laura Wright, and a collaboration between Michelle Naka Piece and Ariella Ruth.

Attendees will also enjoy readings by Bombay Gin’s own editor-in-chief J’Lyn Chapman and editor Jade Lascelles, as well as a collaborative performance by Bombay Gin editors and Jack Kerouac School (JKS) students June Lucarotti and April Joseph.

This event offers a rare opportunity for JKS students to share the stage with celebrated faculty, providing an exciting showcase. The audience will be graced by performances from additional JKS students Erin Likins, Rachel Newlon, Elizabeth J. Sparenberg, and a collaboration between Elyse Brownell and Tiara Lopez.

Please join us this Thursday at 7:30 PM in the Performing Arts Center on Naropa University’s Arapahoe campus. The event is $5 for Naropa students and faculty and $8 for the public.  All proceeds go to Bombay Gin and Friendship Bridge, “a nonprofit, non-governmental organization that provides microcredit and education to Guatemalan women so that they can create their own solutions to poverty for themselves, their families and their communities.” Together we can help make the community a better place and join Anne Waldman in keeping it “safe for poetry.”

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Writing from the Body

As you write and revise to submit to Bombay Gin’s next issue, here are a few simple writing exercises and prompts to help you along in connecting to the body and “flesh memory.” Keep in mind that these are not required exercises for submission. They are simply exercises that can help in any and all of your writing. The italicized are parts of our submissions request. Below you will find the exercises and prompts:

With the late Akilah Oliver’s spirit and thought in mind, Bombay Gin invites submissions for issue 39.2 that explore “flesh memory.” We encourage contributors to extend Akilah’s “flesh memory.” Consider the following:

…what the body knows that the mind can’t hold, the DNA-memory of 500,000 years of human experience and 4 billion years of life on Earth, thinking is one way of knowing the world, the other is being…

Our heads are not directly attached to our spinal cords, so if there is a feeling of disconnection between the mind and body, you are not imagining it. Here are a few tips to connect with the body throughout the day and then begin to write in a new way:

Before sitting down to write, do a body scan. It is helpful to sit or lie down for this practice, with your feet rooted in the ground. Start by focusing on your breath and watching it move from the bottom of your spine to the top of your throat. Sometimes it is helpful to envision a ball of light moving up and down the spine or to chant while breathing. This focuses the attention. Then you can begin the body scan. This is as simple as focusing on each part of your body individually for a short period of time. First, start with your toes. Feel whether they are tense, tingly, numb, or any other sensation. Tell your toes, “I accept that feeling” and then allow them to relax. Allow them to melt into the floor. After it feels like they have melted, move up to the higher levels of your feet, then ankles, even up to elbows and crown of the head. You can continue this practice throughout the day with your whole body or just one part of your body. When you are especially busy, it may be helpful simply to touch one of your chakra centers – put a hand on the heart, on the belly, on the solar plexus below your chest – and ask to connect to that energy. The key is to write from that space once you have done the body exercise. Don’t put too much pressure on it. After you have done these exercises, just start writing stream-of-consciousness style and see what emerges.

…the memory of trauma, through repetition and the reinforcement of patterns, the body learns loneliness, self-destruction, body memory is paved into neural and muscular pathways….

Acknowledge the current patterns. In recovery circles I once facilitated, this was extremely important. The samsara cycle is a pattern of thought and suffering that sometimes gets etched into our brains like rocks being washed over by the same rocks continuously. The water deepens the etchings in the rocks. This is interesting to notice. Some of these patterns are helpful and some are not so helpful. This is interesting to notice. Also, don’t be afraid to build new patterns. I recently coached a friend of mine in doing a creative statement for a graduate school application. She was trying to see how the different parts of her life had connected. We had just seen an exhibit at the Brooklyn Musem titled “Gravity and Grace: Monumental Works by El Anatsui” which contains a few pieces made entirely of linked together bottle caps and tin can tops. At first glance, the pieces are impressive, large tapestries and golden legs that reach outward like the roots of a tree. Upon closer look, we see the bottle caps and tin cans and realize the intricate details necessary in building these structures. We worked on a few of the following exercises: Observe your own patchwork. Draw a map – a map of your childhood landmarks, of what you think your neural connections look like, whatever emerges. Even if images don’t seem to connect at first, draw or write them anyway. It is important to do this exercise from the body or from other media – draw, paint, play music, dance – and you will be amazed at the connections you can make with words after reflection on these pieces. If you are stuck, go see an art exhibit, a concert, or a play. See what inspires your body as well as your mind. Give yourself time and space without words – set a specific time – and then set a time to only write after that experience.

… neuroplasticity—through consistent, positive action, dance, body work, we can heal the mind’s trauma that lies trapped in the body; like everything else, it is a matter of practice and patience, trial and error, repetition…

These are just a few simple exercises. If they seem frustrating or don’t work for you, don’t do them. In uncovering what the body holds, it is most important to be patient. Our bodies are holding some of these traumas and memories to protect us. Let them sit if needed. Or peel them away gently. Try to enjoy the process. Let yourself laugh. Or let yourself cry. And then wait for the writing to pour out.


Please support the journal in which you want your work published. Bombay Gin can be purchased through SMALL PRESS DISTRIBUTION, on our website, or by sending a check for $12.00, made out to BOMBAY GIN. Thank you for your interest in our magazine.

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Peggy Alaniz Reviews Travis Ortiz’s Variously, Not Then

Motivated by fear, what might have been. The mind creeps, creating language that lives in its own zone of experience. Shifting parameters afford access and change. Temporal variations and parallel modes of materiality.  A meditation on what is to come progresses along with determination towards change.

Variously, Not Then, Travis Ortiz

When afraid, the mind tends to wander in thought; it creates its own language called worry.  Together, fear and worry imprison the mind in a place from where there seems to be no escape.  Yet with the proper guidance, the mind and spirit can be freed from the trap of fear through reflection.  Meditation, to be present in the moment, provides the necessary tools in order to change. To release fear through surrender is like exhaling the breath from the body.  Variously, Not Then, a contemplative piece of literature by Travis Ortiz, invigorates the reader’s mind and spirit in a similar way.  The book contains insights into the worries and fears that a person may encounter on a daily basis, something which the reader may reflect upon for guidance in his or her own life.

Always noticed in the breath, that which is not inexpressive.

Frequently in the text, Ortiz makes references to returning to the breath as an act of cleansing the mind or spirit. It is as if Ortiz is reminding the reader to breathe, to let go of the anxiety which his words may have built up, to contemplate the message he has written. This allows the text to speak, so the reader may hear what the words say.  When he mentions the word “breath,” Ortiz asks the reader to return to his or her center, release the fear that weighs the spirit down.   The word “breath” acts like a trigger for the reader, inviting him or her into the text to be mindful of the present moment, to breathe, live and enjoy life.  A person should experience life, its beauty, as a living piece of art.

The use in forcing the breath and approaching cyclical time theories which leads to an interpenetration in the best of taste, tone on tone so to speak. 

Ortiz, an author as well as graphic designer, intends for Variously, Not Then to be a graphic piece of art as well as a literary work.  The book’s design subtly draws the reader’s attention to the beauty of each expressed thought.  Blank spaces upon the page reflect a pause in the mind and body for the words.  Ortiz adds depth to the contemplative nature of his book by expressing the printed words in an innovative matter. His visual art allows a natural energy of joy to flow, freeing the mind to function in its highest state of freedom; therefore, allowing the reader to be attentive. Water markings, in the form of various shades of lightness and darkness in text, function to imprint his ideas upon the reader’s subconscious minds. Ortiz plants the seeds of contemplation in the mind, which will later bear fruit. He uses the water markings to form their own separate narrative on the page, complementing the darker text. Larger, bolder text allows Ortiz to shout typographically, gaining the reader’s attention and stressing the importance of the ideas that he expresses.  The blank space on the page between words once again reminds the reader to return to their center.

One keeps going back in an attempt to realize there is more than one narrative running through here on the breath of excitation. 

Ortiz wants the reader to digest the material, to create his or her own personal meaning to the text, to read and re-read in order to experience the text from different viewpoints.  The book contains no formal introduction so the reader cannot develop any preconceptions of the text.  Ortiz does not want to taint his audience’s experience with his personal viewpoints. His carefully chosen words serve as a contemplative guide.  By being deliberately vague he allows the readers to interject their own memories upon the page.

A single voice emerges reminding one of the fact of breath. 

Another interesting characteristic of the book would be its title.  When broken down, the title of the book contains contemplation unto itself, a simple reflection that Ortiz wants to convey to his audience while they read his work.

Variously- In several different ways

Not- Nothing

Then-immediately or soon after

The title brings up images of a reflective state of existence.  Meditation tames the mind.  At the same time, meditation is a tool that allows surrender to happen. When the contemplative state of mind is released it brings peace, and balance to life. Ortiz wanders through so many concepts, such as language, art, politics, history, what is beyond life, in order for the reader to meditate upon them, gaining a sense of peace within. Variously, Not Then provides the reader with a tool to take a deeper look into their own life. The words create a search into the soul, challenging the reader to be mindful of life in this world.

-Peggy A. Alaniz

Peggy A. Alaniz is a low-residency student at Naropa’s Jack Kerouac School of Disembodied Poetics. She resides in the small rural village of Jonesville, MI; however, come summer she will be living and attending school in Boulder full time.  She holds a BA in History from Hillsdale College and a Level I & II Attunement in the art of Reiki. Peggy also holds the rank of Sho Dan in Sanchin Ryu Karate, which she volunteers to teach at a local community school .

Please support the journal in which you want your work published. Bombay Gin can be purchased through SMALL PRESS DISTRIBUTION, on our website, or by sending a check for $12.00, made out to BOMBAY GIN. Thank you for your interest in our magazine.

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Win Azareen Van der Vliet Oloomi’s Fra Keeler

Bombay Gin editors are excited to continue our series of book giveaways celebrating our latest issue.  I’m proud to announce the second of our Dorothy double-feature.

In collaboration with Dorothy, A Publishing Project, we are offering a free copy of Fra Keeler by burgeoning writer Azareen Van der Vliet Oloomi.


Naropa University M.F.A. candidate Denise Kinsley’s review of Fra Keeler appears in our latest issue. Denise has written grants for several non-profit theatre companies and most recently won an award from The National Endowment for the Arts. She has been involved with theater companies in New York, Portland, and San Diego.

From Kinsley’s review:

…Fra Keeler summons thinking that traces back through my own memories and propels me forward to dreams of future events. It is an extended, manic episode through an unnamed character’s exploration of what’s real and what’s true.

…Fra Keeler is an exploration and a performance of human consciousness. It reveals how the mind constructions illusion—such as momentary blindness—by attaching to dreams and memories.

To read the full review, along with the latest in experimental literature and art, buy a copy of Bombay Gin 39.1: The Contemplative as Transgressive.

For a chance to win a free copy of Oloomi’s haunting Fra Keeler, simply leave a comment below telling us why you’re interested.

The window to enter this giveaway will close at Midnight MST on Monday, March 11th, and the winner will be randomly chosen via random.org.

-Sally Jane

Please support the journal in which you want your work published. Bombay Gin can be purchased through SMALL PRESS DISTRIBUTION, on our website, or by sending a check for $12.00, made out to BOMBAY GIN. Thank you for your interest in our magazine.

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Reflecting on Reed Bye’s Contemplative Poetics

Because the theme of Bombay Gin 39.1 (January 2013) is “The Contemplative as Transgressive,” I thought I’d offer an interpretation of Contemplative Poetics, based on my course work with Reed Bye at Naropa University. The following are excerpts from an essay, “Transitioning Inbetween to Open Space: Three Gates of Contemplative Poetics.

Contemplative Poetics, an investigation of perception, mind, body and speech to join heaven and earth, is the foundation for discovering the true nature of being: open space (Trungpa). The practice of meditation and poetry, along with teachings by Buddhist and literary scholars, illustrates spaciousness, to remind the practitioner, “Are you breathing?” As Allen Ginsberg wrote in “Meditation and Poetics,” “real poetry practitioners are practitioners of mind awareness, or practitioners of reality, expressing their fascination with a phenomenal universe and trying to penetrate to the heart of it” (262). Mind awareness begins with understanding the nature of reality and the mind. In order to glimpse our true nature, or bodhicitta mind (enlightened mind), contemplative practices (e.g. poetry, sitting meditation, yoga, dance) enable equanimity as one begins to practice non-dualism and non-judgment. Contemplative Poetics also introduces the notion of human existence as pertaining to three gates: body, speech, and mind (Thrangu Rinpoche 19). Khenchen Thrangu Rinpoche’s “The Six Collections of Consciousness” questions, “What is a body for?” and “What are the limits of the body?” While the elements of the body, speech, and mind differ, they cannot be separated from the whole and lead to an awareness of the roots of attachment and aversion. This understanding is our capacity for a stable mind, happiness and the ability to live in open space.

As we begin to recognize our ultimate state of being, slowly-slowly, dancing to the quality of our breath, writing what we notice: dust dance, Chögyam Trungpa Rinpoche’s teachings in “The Development of Ego,” further defines this ultimate awareness. “Fundamentally there is just open space, the basic ground, what we really are.  Our most fundamental state of mind, before the creation of ego is such that there is basic openness, basic freedom, a spacious quality; and we have now and have always had this openness”(74). Ultimately, contemplative practice can allow one to understand the poisonous emotions that rule the mind, and eventually opens the heart to truth.


Allen Ginsberg’s “Meditation and Poetics” bravely calls the poet to take up a position, to explore consciousness and garner awareness of the “nature of reality and the nature of the mind” (262).  Poetry becomes a “probe,” a tool to purify the mind and eventually one is free to “let go” of thoughts. This practice of shedding the ego is an on-going practice that may begin in stillness; the body becomes the vessel in which one can begin to cultivate awareness, instead of solely being in the mind. Trungpa taught the importance of synchronizing the mind and body in Shambhala: The Sacred Path of the Warrior, as “connected with how we synchronize or connect with the world…looking and seeing directly beyond language” (52). Thus, the poet may discover a vision that is beyond conventional language; cultivating space to wake up, to aid in the cessation of suffering. In this way, poets might live as bodhisattvas, those who are awakened and vow to live and work to awaken others who suffer. With the innovation of poetic forms, the poet begins to illustrate the three- interdependent gates of humanity: speech, body, and mind.

Birth of the Kerouac School

Awareness of open space containing human experience sparked the meeting of Trungpa and Ginsberg, and as a result, established the Jack Kerouac School, a ground for exploring humanity, including the five skandhas, or “heaps:” form, feeling, perception, concept and consciousness, which make up the ego, the gate of the mind and intellect (Trungpa 73). As poetry is a craft, a work of art that artists may attach a sense of self to, sentient beings can become overwhelmed with perception, “fascinated by our own creation, the static colors and the static energies. We want to relate to them, and so we begin gradually to explore our creation” (Trungpa 77). And yet as we engage in creation, Trungpa also wrote in “Joining Heaven and Earth” the absurdity of labeling oneself an “artist.” “We have to recognize how much neurosis comes out in works of art” (149). This identification as artist “prevents us from reaching beyond that particular scope” (149). “We begin to realize that the principle of dharma exists within us…relaxation can happen because such trust has become a part of our existence. Therefore, we feel we can afford to open our eyes and all our sense perceptions fully” (152). Since sentient beings have innate “basic wakefulness,” or “basic goodness,” a term Trungpa uses to describe our fundamental state of being that often becomes clouded by the ego, we have the capacity to end suffering by recognizing egolessness, through the renunciation of ego fascination. As we take up our pen to communicate our inner peace, we begin to bridge the gap between the inner and outer self, self and other, and realize interconnection.

Return to Open Space

When we realize open space, we realize the five elements: Vajra (white water) Ratna (yellow earth), Padma (red fire), Karma (green wind), and Buddha (blue space/sky). Contemplative Poetics investigates how the body, mind, and speech return to the elements, in life and death. With life and death staring me in the face, my body aches, my heart hurts, other organs feel tense, and yet, I find the means to breathe this tension into the earth, releasing the sensations from my grief. I can write to heal, I can sing, tone to move the energy through my body, to pay homage to life and death. James Schuyler’s “Hymn to Life” illustrates life as a delicate balance between suffering and awareness: “And someone/ you know well is suffering… I misunderstood silence for disapproval, see now it was/ Sympathy. Thank you, May, for these warm stirrings” (155-156). As I see my local and global community struggling with open space, the challenges it brings, the suffering, I look for the fine cutting edge that all at once illustrates the vastness and depth of reality. As we sit with these intense emotions, and study the dharma, through contemplative practices we return to the fundamental mind… bodhicitta mind.

-april joseph


Please support the journal in which you want your work published. Bombay Gin can be purchased through SMALL PRESS DISTRIBUTION, on our website, or by sending a check for $12.00, made out to BOMBAY GIN. Thank you for your interest in our magazine.

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Some Helpful Submission Tips from Bombay Gin

Submitting creative work to a publication can be nerve racking for a number of reasons, especially if it is your first time. Gaining publication is an essential part of a working writer’s life, so here is a list of tips to help you along the way to becoming established writers.

1. Do Not Fear Rejection

This tip is the most important one I can give. You cannot fear rejection; it is going to happen, and it is ok. This is the first thing you, as a writer, need to grasp and understand. It is hard to send off your own work to be judged and analyzed by various editorial panels, but you should never take a rejection too close to heart. A rejection doesn’t mean anything about the quality of your writing. You could receive a rejection for any number of reasons. For example, your piece might not have fit the journal’s theme, you didn’t follow the journals guidelines, or the journal might not even read your work, because there is just too much to read. Whatever the case, you just need to continue to send your work to a number of publishers. Just be patient and have no fear; your work will find a home.

2. Submit to Journals You Like

Do your homework. When you are looking to submit work for publication, you should always look at journals that you admire or enjoy. Submit to journals you are familiar with so you know what type of work they publish. Mention in your cover letter that you have knowledge of the publication; it presents dedication on your part. Just make sure, regardless of where you submit, you do your research and take the time to learn about the publication. Take the time to read their mission statement. Know to whom you are submitting.

3. Follow the Guidelines

Always make sure to read and follow the guidelines for each journal and magazine to which you submit. Each journal has specific submissions guidelines. A journal’s guidelines tell you things like when to submit, how many pieces/pages to submit, the format in which to submit, and whether they take simultaneous submissions, among other things. Not following the guidelines gives the publisher an excuse to recycle your work and give you an immediate rejection. This is obviously what you are trying to avoid so always make sure to read the guidelines carefully first before submitting anything.

4. Write a Good Cover Letter.

A strong cover letter is essential, and you should take the time to create a template cover letter you can use to submit to various publications. A good cover letter should do the following:

  • Tout your accomplishments without telling your life story. You should mention your achievements, such as other publications and awards, but keep it brief. Most editors do not want to read an autobiography, because they have enough submissions to read as it is. Always update your letter as you accomplish more.
  • Include your contact information (address, number, email, etc). This way, the editors can contact with you about your submission or know where to send correspondance.
  • Mention your prior knowledge of the publication. This shows that you have taken the time to examine the publication before submitting and that you have connection with that particular publisher.
  • Makes you more appealing. For example, use “completing” instead of saying “going for my degree” when talking about your education. “Completing” tells a publisher that you are hard at work toward your goal and loyal to your craft.
  • Be courteous. Thank the editors for taking the time to read your work. Editors have a lot of reading and work on their hands.

5. Submit to as Many Places as You Can.

Most publications allow for simultaneous submissions, which means you can submit work to them that you have already submitted to other publishers. Don’t put all of your eggs in one basket, because what is not good for one journal might be good for another. If you do end up submitting work simultaneously, always make sure to contact other publishers after a piece gets picked up for publication so they know to disregard it from your submission.

6. Keep Track.

Create a chart or someway of organizing where you have submitted work. This is for your own personal record and sanity.

7. Be Patient.

Give the editors time to get back to you. If you submitted work to a journal two days ago, then don’t start asking them about the status of your submission. Likely, they haven’t even had a second to look at the majority of submissions they have received. It can take a few months for you to receive any word. If you haven’t heard anything from a publisher in over a few months then just assume your work was rejected and move on from there.

There is a lot of pressure, especially for younger writers, to gain publications in order to become more established. My hope is to help relieve some of that pressure with advice. Getting published is not easy; it takes a large amount of effort and persistence. These tips can get you on track toward gaining new honors and publications, setting you on the path toward becoming an established writer.


Mike Malpiedi is a first year MFA candidate in the Jack Kerouac School of Disembodied Poetics.  Mike also serves as Associate Editor, Graduate Assistant for Publications, for Bombay Gin.

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Origin Story: Birth/Unbirth and Free Gin Giveaway

Ever wonder how Bombay Gin Lit Journal received its illustrious name? Here’s your chance to find out. Send a short poem or prose piece, citing or creating the birth of BG to bgin@naropa.edu by the end of this year. The winner will receive a copy of our forthcoming issue, featuring work by Anna Joy Springer, CA Conrad, Serena Chopra, and many others. In the meantime, here are some vintage BG covers to stir your imaginations.

http://www.poetspath.com/exhibits/bombay_gin/spring_1976.html http://www.poetspath.com/exhibits/bombay_gin/summer_1976.html http://www.poetspath.com/exhibits/bombay_gin/winter_spring_1977.html http://www.poetspath.com/exhibits/bombay_gin/summer_fall_1977.html http://www.poetspath.com/exhibits/bombay_gin/winter_spring_1978.html http://www.poetspath.com/exhibits/bombay_gin/summer_1978_spring_1979.html http://www.poetspath.com/exhibits/bombay_gin/summer_fall_1979.html

-Brenna Lee

Brenna Lee is the Art Editor of Bombay Gin and a current Writing Fellow at Naropa University. She is a second year MFA candidate and a Co-Editor of Blooming Plants, a multi-media conduit.

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A Toast to Autonomy: CA Conrad Interview

Hello lovely readers,

For your reading pleasure, we’ve decided to release an excerpt from Bombay Gin’s upcoming interview with the incredible poet CA Conrad. Look for the interview in its entirety in our soon to be released issue, 39.1, and check out CA’s poetry and (Soma)tics at caconrad.blogspot.com.

Brenna Lee: You’re work seems to explore elements of working class culture and white-trash culture. I’m interested in these ideas as history but also as archive and art. It reminds me in a way of Ilya Kabakov’s archives of trash as installation. Or Warhol’s film Trash. How do you think your interest in these cultures affects your own work?

CA Conrad: I won’t deny where I came from, but I’m not interested in it any more than I am interested in any small-minded group of mean-spirited people. There’s nothing romantic about homophobia and racism and an inane sense of power from alcohol. Trash may be an aspersion, but it’s accurate. I saw my mother arrested when I was nine, and her third husband was a pedophile, and by the time I was ten, I was completely paranoid from the task of protecting my younger sister from this creep. I hate where I came from. Hate’s a strong word, and I’ll use it. These people will always disgust me. I grew up in a part of rural Pennsylvania where the Ku Klux Klan has a foothold. Two filmmakers from Delinquent Films are making a documentary about me, and they went back to where I grew up to interview my father. I think they were wondering if I was exaggerating the details of this bigoted little town. They asked my dad about the KKK, and he closed the windows and drew the blinds before saying anything, and he talked about their resurgence in the 1990’s. In the 90’s, the coffin factory in town closed, a factory that had been there for over a century and was one of the area’s main sources of income. The Klan feeds a community’s financial fears with their illogical and frightening campaign to blame people of color. Meanwhile, it was President Clinton’s NAFTA that was to blame, of course. Anyone who lived in the initial era of NAFTA in America knows how the factories all headed south to use the people of Mexico as fodder for new factories with NO EPA standards, NO OSHA standards. Decades of labor rights to protect workers could be wiped clean in Mexico. So, the Klan was blaming immigrants and African Americans when the real people to blame were rich white men who owned the factories and bought their way through Washington. When I was outed in high school, the town’s hatred of homosexuals changed me. For me, there was life before I was outed, and then a very different life after being outed. It’s like one day no one will talk to you and this new way of living begins, and it’s amazing when that kind of societal switch gets flipped in your life. It’s most definitely a form of Hell on Earth with the ridicule, daily assaults, and the shunning. There was a bet about when I would kill myself. Junior year? Senior year? I wonder if someone bet that I was too strong for the tyranny? They were the winner! Being branded a zero gives you tremendous freedom though. In fact, it makes you freer than your oppressor will ever be, because you don’t have to follow their rules, because you are forbidden to signify the good citizen. Unless of course you’re one of those boring faggots or dykes who actually wants to assimilate. A toast to autonomy! Eileen Myles once said, “It’s good to be hated.” I understand that.

-Brenna Lee

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JKS Presents What Where Series II

Please join us for the second installation of the Jack Kerouac School’s What Where Series on Tuesday, October 23rd. A reading featuring Lidia Yuknavitch, Eric Baus, and Joanna Ruocco will begin at 7:30 pm in the Arapahoe Campus’ Performing Arts Center. This event is free and open to the public.

Lidia Yuknavitch is the author of the anti-memoir The Chronology of Water and the just released novel Dora: A Headcase: A Modern Farce, as well as three books of short stories and critical book on war and narrative. She is the recipient of an Oregon Book Award, a Pacific Northwest Bookseller’s Award, and was a finalist for the Pen Center Award in nonfiction. She teaches writing, women’s studies, and literature in Oregon with her husband the filmmaker Andy Mingo and their renaissance man son Miles. She runs the independnt press chiasmus (key-az-muss). She is a very, very good swimmer.

Eric Baus is the author of Scared Text, winner of the Colorado Prize (Colorado State U. Press), Tuned Droves (Octopus Books), and The To Sound, winner of the Verse Prize (Verse Press/Wave Books), as well as several chapbooks. His commentaries about poetry audio recordings, Notes on PennSound, recently appeared on Jacket2. He lives in Denver where he co-edits Marcel Chapbooks with Andrea Rexilius.

Joanna Ruocco co-edits Birkensnake, a fiction journal. She is the author of The Mothering Coven (Ellipsis Press), Man’s Companions (Tarpaulin Sky Press), A Compendium of Domestic Incidents (Noemi Press), and Another Governess / The Least Blacksmith: A Diptych (FC2).

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