We are a proud sponsor of this year’s Jackson Street Jazz Walk! Come on down to Jackson Street in Seattle’s Central District for a night of great music, including a jam with Julian Priester, the Pratt Fine Arts Center annual open house with the popular bronze pour, and good food at the many restaurants along Jackson.
For four years, I organized this event, but at the press continues to grow and demand full attention, I was so happy to hand this off to NW Jazz Vocalist of the year, Eugenie Jones. So if you’ve come before, expect some changes, but one thing that won’t change is a bit of poetry happening as well. We’ve had some GREAT poets in the past, including Freshest Roots and William Curtis, so this year it’s our privilege to bring M. Seven Brenner to Pratt. She’ll be making poems for you on her typewriter, so think of a topic and get a poem!
We’ve been over at Jack Straw doing the base recordings for Woodland— a project that becomes our eleventh book, out in March of 2019.
I’d like to tell you most about the incredible Seattle pianist Aaron Otheim, because the writer is the publisher here at Entre Ríos Books, me (and so that just feels a bit awkward). For folks on the experimental jazz side of music in Seattle, you might know Aaron from his years organizing the Cafe Racer Sessions (RIP, CAFE RACER). He’s phenominal, has interest in all kinds of genre-bending music, and so we highly recommend you take a listen to his work on SoundCloud.
Last summer, a batch of quite broken writing started happening for me during the weeks of hazy dreadful smoke-filled days we had due to fires in British Columbia and then Oregon. As it became very clear that I was writing about fire, I thought it might be interesting to base the center section of the book around the music of Edward McDowell (1860-1908), and in particular, “Woodland Sketches”— popular, beautiful parlor music. It’s racist, it’s sexist, it’s completely of it’s era of industrialization and the beginnings of mass-markets. I asked Aaron to think about updating it for the era of climate change and endless fires. Riffing on an idea of mine, he took the score and burnt it, altered it with the goal of making it “sound like ash”.
So here’s a short video showing some of the process as the end music won’t be like this— but the process to me is so intriguing. Jack Straw has a great piano and set up the mics around the room to allow Aaron great control in mixing the soundfield. With plenty of takes, improvisations, and experiments with the instrument, he’ll take these recordings to add electronic sounds and alterations.
Like all our books, this one comes with an audio download— so when you buy the book, you’ll have the password to download his new music. That download will also come with my reading of the book— and I am planning on some version that will also include some experiments in sound design.
Here’s an early experiment on my side with sound. I can’t say this is the final— it’s a process!
Maya Jewell Zeller will read poetry from her new collaborative collection Alchemy for Cells & Other Beasts, teaming up with Spokane folk musician Liz Rognes. The pair will share original work that thoughtfully interrogates the politicization of women’s bodies, with connections to the environments in which they live.
[This event is presented in conjunction with the MCE’s new “Window on Central” exhibition, Our Changing Pacific Northwest, featuring the work of two women scientists (Susan Kaspari from Geological Sciences and Megan Walsh from Geography) whose work helps us imagine the impact of climate change in our region.”]
Join poet, Melinda Mueller, and cellist, Lori Goldston, as we celebrate the publication of Mary’s Dust, Melinda’s first full-length collection since her award-winning, “What the Ice Gets”.
Lori Goldston will perform a suite of new music commissioned for the book (and included in the digital download) and we will also be showing a film by Christian Anderson featuring Seattle poets discussing the unqiue perspectives women writers bring to writing about history and creating their own narratives.
“Melinda Mueller’s great gift is translating historical detail and scientific fact into profound human experience. Long-awaited Mary’s Dust is a tour de force, a klatch of history’s Marys speaking through a stunning array of formal constraints—much as they did in life. Each Mary emerges from Mueller’s precise and brilliant word choice and imagery to linger “with a faint ringing.” Mary’s Dust is an ambitious, awe-inspiring, marvelous collection.” — Kathleen Flenniken, author of Plume.
PLEASE NOTE: the reading will take place in the STREAM Building, with its enterance Spring street, between 12th and 13th.
We are an independent press in Seattle, Washington. We publish collaborations between poets and artists of all types. We also have an interest in publishing contemporary Argentinian poetry in translation and supporting writers with an interest in Argentinian culture and Jewish history in Latin America. Gay-owned and queerly run.
Which of course got me thinking about other texts you could manipulate based on prevalence and some other metric— though my husband is not a typesetter, so that conversation went to code more than look. So now I want to look at what other folks might be experimenting with.
And I ask because my husband is ultra science MIT nerd, and we were talking about taking headline mentions of a topic, normalizing based on mentions/time and then setting that text > my thinking is you might create an "erasure" or "redaction" but through overlay not subtraction.
Curious about poets doing data visualizations? Text manipulations based on data of some sort? Not "fake language" marking, but truly using data and perhaps code to manipulate the text. Who is doing this?