Spring 2002, Web Issue 5

Spring 2015, Web Issue 17

Spring 2014, Web Issue 16

Spring 2013, Web Issue 15

Spring 2012, Web Issue 14

Spring 2010, Web Issue 13

Summer 2009, Web Issue 12

Winter 2008, Extra Issue 11

Spring 2008, Web Issue 10

Spring 2007, Web Issue 9

Spring 2006, Web Issue 8

Summer 2004, Web Issue 7

Winter 2004, Web Issue 6

Summer 2003, EXTRA #2

Spring 2002, Web Issue 5

Winter 2001, Web Issue 4

Summer 2000, EXTRA #1

Summer 1999, Web Issue 3

Spring 1998, Web Issue 2

Spring 1997, Web Issue 1

A multidisciplinary
journal in the
arts and politics



Cover art: Ollie Harrington
from the Walter O. Evans
Collection of African-American Art

Galerie I: Ollie Harrington

            Galerie II: Tom Wagner

Founding Editors:
Joe Brennan
Carlo Parcelli

Contributing Editors:
Brad Haas
Rosalie Gancie
Cathy Muse
Mark Scroggins
Jim Angelo

Web Editors:
Rosalie Gancie
JR Foley
Nicole Foley

'... it doesn'tmatter...
    when the lie is
    so beautiful...

..freeDUMB & deMOCKracy...

...my teeth are soooooo white....'

0 HIST( )RY!...

... M A C R (micr(MACR) etc....

I love you MA-mi

... gutteralsnipeyed snoopdig
    splayedfurth oink
    to zanzibark...

oil bee seein' ewe

'... he thinks cheerfully,

...this could go on for years...'

...the spoof-fed flatterplus...

"... a tabula full of slime...."

... mean time the killing

"... forty acres and an carcass...."

you've got a hØme...

'....my mØral is more m( )ral than
    your møral...'

...in Transylvania!

...the nascent nasturtium of necroscopy...


...psychic ecOnømy...

there's a moody rood ahead .............

--Joe Brennan
White with Envy"

All essays, poetry, fiction, and
artwork are copyrighted in the
names of the authors and artists,
to whom all rights revert.


john taggart: an introduction

          "rhythm & blues singer"

          on john taggart:

                    robert creeley
                    brad haas

                    taggart on taggart: an interview

                    mark scroggins
                    burt kimmelman
                    david clippinger

george oppen
     "the stony

          brad haas on "alpine" and New Collected Poems
          john taggart on george oppen

møønlight white with envy
joe brennan

she does, he doesn't
cris mazza
          on cris mazza:
                    libidinal confusion, cam tatham
                    mazza beside him, jr foley

the measure of measure: ego, positivism, and
the smiling pig of language poetry

david hickman

freaknest future
jr foley on lance olsen

anastasios kozaitis
          "variations: toward the fluid addresses"

          three translations from cavafy:
               "the polis"

attack on bloggs
matt samet

ezra skinhead: the cantos as "the anthem of fascism"
carlo parcelli

chicken alto
andrew white

david alexander

journeys out of dreams:
anthony wright
          "ghosts of

the throatcutters
jon potts

the washington post vs. the `ineluctible modality of the visible'
carlo parcelli

brad haas reviews:
           ronald johnson, "the shrubberies"
           stephen fredman, "a menorah for athena"

night patrol
jr foley

tale of the tribe (unabridged)
carlo parcelli

     In this issue of FlashPøint, we present the first extended, online consideration of the poetry of John Taggart. After a brief introduction by Brad Haas, we kick it off with a new poem, "Rhythm and Blues Singer," from John Taggart. Robert Creeley then provides an original poem entitled "John’s Song." Brad Haas has also contributed a poem, "The Father and the Son and the Holy Ghost," rippling with the shades of John Coltrane and Albert Ayler, as prelude to a long interview he conducted with John Taggart for FlashPøint over two relaxed, music filled and intellectually rangy afternoons at the poet’s rural home. This is followed by three critical examinations of John Taggart’s work by Mark Scroggins, "Taggart: Sound and Vision," Burt Kimmelman, "Quantum Syntax: John Taggart’s Discrete Serialism," and David Clipnger, "Redrawing the Boundaries of Poetry: The Small Journal and the Example of Maps."

     We also have pages 1490 thru 1504 of Joe Brennan’s 1600-page tripartite, antiphonal masterpiece, A Work in Progress. All the new (and old) millennium hypocrites, liars, murderers, and fools now have their Hell. The excerpt in FlashPøint is identified by its first line, “...Moonlight white with envy... .”

     David Hickman’s essay, "The Measure of Measure: Ego, Positivism and The Smiling Pig of Language Poetry" traces the intellectual, aesthetic and ethical roots of the Language project’s utter collapse into disrepute and obscurity.

     Jazz legend and John Coltrane authority, Andrew White, has provided us with a wry story from 1963 excerpted from his iconoclastic autobiography, “Chicken Alto.” With good natured humor he lucidly communicates in this short piece several archetypal dimensions of the struggle of the modern jazz musician.

     We have translations from the Greek of three C.P. Cavafy poems from New York poet, Anastasios Kozaitis, as well as an original poem, "Variations: Toward the Fluid Addresses," which chronicles the co-evolutionary constriction of our material/scientific culture.

     Brad Haas has posted two variants of the Oppen poems, "Alpine" and "Stoneybrook," from his personal archive as prelude to his review of the New Collected Poems edited by Michael Davidson and issued by New Directions. Brad not only includes his own provocative essay on the metamorphosis of Oppen’s canon, "The Textual Dilemma of Oppen’s `Alpine'," he has also obtained for us a recent talk on Oppen by ... John Taggart!

     Brad Haas also reviews The Shrubberies by Ronald Johnson, edited by Peter O’Leary, and published by Flood Editions, and A Menora for Athena: Charles Reznikoff and the Jewish Dilemmas of Objectivist Poetry by Stephen Fredman, published by the University of Chicago Press.

     This issue of FlashPøint is graced with the powerful and profound images of ex-patriot, African American cartoonist Ollie Harrington. Mr. Harrington’s work has had a profound influence on illustrators Sue Coe and Michael Allen who have appeared in previous issues of FlashPøint. The three images in this issue come from the Walter O. Evans Collection of African-American Art. Together with Mr. Harrington's art in this issue's Galerie we are happy to showcase a very different approach to graphics in the work of Tom Wagner.

     In response to some critics' current contention that Ezra Pound’s Cantos are the “anthem of fascism,” Carlo Parcelli asked the fascists themselves what role the Cantos play in their ideology in his piece "Ezra Skinhead: The Cantos as the Anthem of Fascism." Then Parcelli turns his attention to the official press’s horror at James Joyce’s Ulysses' being named the “greatest novel of the twentieth century” by Modern Library. He then ties the press’s resistance to Joyce, Ulysses, and High Modernism to their longstanding fear and loathing of the ‘other’ as represented by third world nationalist movements in a piece he calls "The Washington Post vs. the Ineluctable Modality of the Visible."

      Finally, the unabridged text of Carlo Parcelli’s poem "Deconstructing the Demiurge: Tale of the Tribe", that has so much annoyed readers, especially members of the scientific and political communities, is presented here in its full glory in hopes of providing further annoyance.

      FlashPøint fiction is always a startling mix of styles and subjects. In issue #5 the latter range from war ("night patrol" and John Potts' "The Throatcutters") to other human business. Cris Mazza, an excerpt of whose novel, Girl Beside Him, appears in FlashPøint #1, now contributes two enticing contrapuntal short-shorts grouped as "She Does, He Doesn't". (An edgy discussion of Mazza's novel, Your Name Here: _______, orchestrated by Cam Tatham, accompanies an introduction to Girl Beside Him.) Anthony Wright's two tales, "Ghosts of Krakatoa" and "Popocatepetl", take FlashPoint more than literally into new territory -- travel-writing -- which we have not featured before. We have published speculative fantasy, on the other hand, but never anything like David Alexander's Machinebreakers, which projects a dystopian alternative history of the U.S. always shattering into and out of chaos. A window into a very different 21st century dystopia can be found in a review of Lance Olsen's Freaknest. And for a wry window upon the events of September-October 2001, check out Matt Samet's "Attack on Bloggs".

     Welcome to the new FlashPøint ... and be sure to tell us what you think!

- Carlo Parcelli & JR Foley