Volume 2, No. 1
Fall, 2002

Philip Whalen Devotions
John Aiello
Lawrence Carradini
Bonnie Finberg
Jay Larson
Valery Oisteanu
Charles Plymell
Mary Sands
Eddie Watkins

Editorial Notes
Letters to the Editor
-Larry Keenan: Photo Gallery
-South African Poetry: Mike Cope, Jeremy Cronin, Keith Gottschalk, Geoffrey Haresnape, Peter Horn, Antjie Krog, Luvuyo Mkangelwa, Dr. Kelwyn Sole
-mIEKAL aND: Hyper Wilderness, Hyper Culture
-J. Scott Bryson: Seeing the West Side of Any Mountain: Thoreau and Contemporary Ecological Poetry
-Zoe Artemis: From London to Louisville, and Beyond
-Tom Bradley: No Baudelaires in Babylon: Comments at the Paris Sorbonne
-Kenneth Gill: Untitled: Youngest-Ever Contributor to Jack
Ben Nelson: Universal Undone
-Valery Oisteanu: Standardland: The City Where It Was Illegal to Die
-Bart Plantenga: Ocean Groove, Ocean Grave
-Tom Sanders: Vinny's Seduction
-Michael Rothenberg: From The Last American Smile
John Aiello, Jeff Bryant, Richard Denner, Brentley Frazer, Robert Gibbons, Jesse Glass, Hammond Guthrie, Tom Hibbard, Dan Raphael, Martin Rutley, Willie Smith
-Keith Gottschalk: Driving Around South Africa with the Roof Down
-Kent Johnson/Steve Ellis: JFK's Head Blown Out from a Cosmic Inflationary Spiral:
Stephen Ellis on Poetry, Jack Clarke, Palestine, Position-Taking, the End of the World, and Cyberpoetry
-Karl Young: Whose History of What World?
-Mark Beers: Analysis of Aunt Ruth (Mulholland Drive)
-Hammond Guthrie: The Beat Hotel
-Mary Sands: Mulholland Drive Review
-Mark Spitzer: Transgender Organ Driver
-Karl Young: Kenneth Rexroth: Protest, Rebellion, and Beyond
-Brett Dionysius: Poems
-Vernon Frazer: The Post-Creativist Corpus Of Astu Abalar



Hal Bohner's landscape paintings are featured this issue in Jack


Mary Sands
Michael Rothenberg

Hal Bohner: landscape paintings throughout issue
Larry Keenan: photo gallery
Nancy Victoria Davis: line drawings for Mulholland Drive

Poets on the Peak


As Ever

Ecopoetry: A Critical Introduction


My movies are film-paintings -- moving portraits captured on celluloid. I'll layer that with sound to create a unique mood -- like if the Mona Lisa opened her mouth, and there would be a wind, and she'd turn back and smile. It would be strange and beautiful.
- David Lynch

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