Loss Pequeño Glazier

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Biographical note:  Loss Pequeño Glazier’s writing explores the multilingual folds of natural languages and computer code. He grew up in bilingual South Texas, as well as Japan, England, and California, and has traveled extensively worldwide since. Author of the award-winning Digital Poetics: The Making of E-Poetries (University of Alabama Press, 2002) as well as numerous digital poetry projects, he is professor of Media Study and Director of the Electronic Poetry Center, State University of New York, Buffalo.

BIC Basic

EAN13:  9781844710010
ISBN-10:  1844710017
ISBN-13:  9781844710010
Author:  Loss Pequeño Glazier
Title:  Anatman, Pumpkin Seed, Algorithm
Series:  Salt Modern Poets
Product class:  BC
Language:  eng
Audience:  General/trade
BIC subject category:  CTCH1
Publisher:  Salt Publishing
Pub date:  01-Oct-03
Extent:  112pp
Height:  216 mm
Width:  140 mm
Thickness:  7 mm
Weight:  168 gms
Supplier:   Gardners Books
Supplier:   Ingram Book Group
Supplier:   Inbooks (James Bennett)
Availability:  IP
Price:  GBP 9.99
Price:  USD 15.95
Rights:  World

Main description:  Anatman, Pumpkin Seed, Algorithm playfully experiments at the edges where languages meet. These poems probe the technologies of language and the languages of technology. This is “technology”, with an emphasis on the Greek root “techne”, meaning “something that’s made”. The investigation then becomes one of the relation of language to “making”. The seams where languages meet offer the most vivid site for this activity, whether indigenous languages inside Spanish colonialism, the natural language inside programming, or the migration of the codes and protocols of the Internet into human speech. It is one thing inside another! In three sections, “The Parts”, “Semilla de Calabaza / Pumpkin Seed”, and “Leaving Loss Glazier”, these poems explore the topographies/e-geographies of such migrations, invasions, and revelations. They explore Hispanicity and the Americas, sounding such language play within the action of programming or in human speech, whether set in the landscapes of the U.S., Mexico, Costa Rica, or Cuba. In addition, many of these poems have used computer programming to test variants, to seed vocabulary, to build lexical culture, and to extend the poet’s toolset to build beyond the flatness of print. In order to see language as so active, it becomes necessary to see it not as a singular and sovereign. It is not a whole but as an aggregation of constantly active parts, language as programming that makes language. Seeing language as parts of language expands all the possibilities that language within language opens. Such language is alive. This poetry is the living fabric of such activity.

Table of contents:
I. The Parts
The Apex
The Com’ns
ABCDE
How I Was Attila in a Past Life
On the Occasion of his Return to Civility
Five Pieces for Sound File
Proposition (Octave)
Parsings – from *E*
The Parts
II. Semilla de Calabaza (Pumpkin Seed)
White-Faced Bromeliads on 20 Hectares (An Iteration)
Xochimilco
Mezcla
Mar
La Habana / Mar
O : L a H a b a n a
III. Leaving Loss Glazier
Windows 95
The Figures
Olé / Imbedded Object
Their DLLs
One Server, One Tablet, and a Diskless Sun
Direct Contact
Del Rio
Cache / Caché?
To Achieve Excess, your Vocabulary needs to be at a Level Higher than that of your Competitors
Icon Editing
“There I Never went Looking for Extravagant Meanings”
Balanchine’s Words to Printed Passage
S c r o l l
Gorton’s G. & Año Nuevo Laredo
The Reed Heads
“Wits Have Short Memories & Dunces None”
The Lettrist

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Excerpt from book:  

How I Was Attila in a Past Life

Losing its words. Take some aegis or exit point where alpha types disperse. The family grows old and leaves without you. There was some hook to holdings how the etzels regenerated. The ‘rod and cones’ of it. As it was penned, the bull waiting to bolt forward but the human cannot wait for sunrise. Hence dismemberment makes a myth of words salving a permuted path. Veneering through https, Dogtowns backed up on reels of glossy Roman polymer. Whose words you see everywhere. Hums: restrict yourself to writing on mainframe. Spaces are collapsed by some protocols but it is not confused by underscores. (Though your sometimes use of parens makes cursor leap in half–tangoes, pistachio, and Abba riffs.) Was it worth a single screen? Can it apprehend the reference applets? Simultaneously you are free to receive invasions from across the continent. It’s the local disruptions that bludgeon Bleda. Does the ghostly quality that these marks are not impressions but literal absences in a blue background replicate a mimeo master? Ride ghost–framed. Its evasion demands only half a Western Empire as dowry. There is urgency since flukes occur and if the contraction cuts, its image evaporates. This only exists within the buffer unless you write to disk. No record of his motives for typeovers into Gaul remain.

Unpublished endorsement :  Loss Pequeño Glazier’s pioneering work at the Electronic Poetry Center has, at its heart, this poetry. In his first full-length collection, Glazier dazzles with linguabatic élan, flying through the textual air and landing on all three sides of every border crossing. Anatman, Pumpkin Seed, Algorithm ushers us into a world not just of possible virtualities, but also, as Zukofsky put it, of “actual word stuff.” The digital future has arrived and it’s a book.

Charles Bernstein

Unpublished endorsement :  Loss Pequeño Glazier is perhaps best known as the brilliantly particular master of poetry’s new home in cyberspace, the Electronic Poetry Center, with ten million users in ninety countries. A veritable Pied Piper of possibilities, his own transforming works here collected are without question at the cutting edge of it all. So dance to the pixels and enjoy!

Robert Creeley