{"article":{"id":177388,"heading":"Women's Art Exhibit and Writer Series","author":"Bob Squires","created":"2006-09-08 06:33:06","modified":"2013-11-11 00:44:07","last_modified":"Mon, 11 Nov 2013 08:44:07","article":"

Carlotta’s Passion Fine Art is pleased to present Le Deuxième Sexe?, an all-women artist exhibit from September 9th – September 24th. \r\n \r\nYou are cordially invited to attend the artist’s reception on Saturday, September 9th, from 7:00 pm – 10:00 pm.\r\n \r\nThe exhibit includes works by Diane Gamboa, Margaret Garcia, Linda Arreola, Olivia Sanchez Brown, Mari Cardenas, Judith Duran, Simone Gad, CiCi Gonzalez, Fei Lu, Poli Marichal, Isabel Martinez, Lucia Maya, and Audri Phillips, each a visual powerhouse in her own right.\r\n \r\nThe artwork is as diverse as the worlds of the artists are unique. Gad and Gamboa share bold personal expressions with strong touches of pattern and design. Garcia graciously defines herself and her community while Gonzalez presents both narrative figuration and gravity-free abstraction.\r\n \r\nArreola combines social commentary with spiritual awareness. The potent works of Marichal and Lu also address vital issues of the day. Both are influenced by their families. Marichal’s father having been a Spanish Civil refugee and Puerto Rico's most famous theatrical scene designer and Lu’s grandfather a famous Chinese propaganda artist during the reign of Mao Zedong.\r\n \r\nMaya is a brilliant Mexican lithographer whose work is heavily influenced by dream structuring. Similarly, Phillips produces dreamscape-like oeuvres \"where the outer continues into the inner, the visible into the invisible”.\r\n \r\nWomen's Writer Series\r\nCarlotta's Passion Fine Art is offering a series of readings by \r\nhighly gifted women writers and poets, many of whom have been \r\nrewarded with very positive critical acclaim. \r\n \r\nReading Schedule\r\n\r\nSunday, September 10th, 3:00 pm: Charlotte Innes, Kim Grant, \r\nand Cora Moncrief\r\n\r\nFriday, September 15th, 8:00 pm: Yvette Johnson, Liz \r\nGonzalez, and Mona Jean Cedar\r\n\r\nSunday, September 17th, 3:00 pm: Pat Alderete, Consuelo \r\nFlores, Reina Prado, and Maria Elena Gaitan\r\n\r\nFriday, September 22th, 8:00 pm: Bridget Kelley-Lossada, \r\nJudith Terzi, and Chella Courington\r\n\r\nSunday, September 24th: 3:00 pm: Kathleen Tyler, Marte \r\nBroehm, and Lucinda Michele Knapp\r\n \r\nAbout the Writers and Poets\r\n \r\nPat Alderete\r\nBorn and raised in East Los Angeles, Pat Alderete writes about the \r\nbeauty and brutality of barrio life, rendering the complex inner \r\nworlds and strict social hierarchies of a community too seldom \r\nobserved in literature. Her short stories are published in Joteria \r\nand PEN Center Journal, and have been anthologized in Hers 2 and 3; \r\nLos Angeles Gay and Lesbian Latino Arts Anthology 1988-2000; and A \r\nGeography of Rage. She has written two one-act plays, Ghost and the \r\nSpirit, produced as a staged reading in 1997, and Love and Fire, \r\nproduced as a staged reading by the Macha Theater in 2003; her one-\r\nwoman performance, Tina Gets Married, was produced in 1999. \r\nAlderete is currently at work on a book of short fiction about \r\nChicana\/o life in East L.A.\r\n \r\nAlderete has studied writing with Sandra Cisneros, Luis J. \r\nRodriguez, Helena Maria Viramontes, Mona Simpson, and Terry \r\nWolverton. In 1996, she was part of the first group of writers to \r\nparticipate in the PEN Center USA West \"Emerging Voices\" Program. \r\nAn accomplished performer, Ms. Alderete has delighted audiences \r\nthroughout Southern California, most recently at the J. Paul Getty \r\nMuseum. Alderete has twice been a guest artist at the University of \r\nNebraska\/Lincoln, where she lectured and read her work.\r\n \r\nMarte Broehm\r\nMs. Broehm's California roots go back 33 years. Born and raised in \r\nWisconsin, she has typical Midwestern values streaked with some West \r\nCoast sunshine. (She thanks God for that!) Following her 30-year \r\ncareer as a professional educator and consultant, Marte has turned \r\nto other talents of: writing, painting, and editing. She's taken \r\npart in readings and been a featured poet at numerous locations \r\nthroughout Southern California. Her poems have appeared in more \r\nthan ten anthologies in addition to several ezine sites. A large \r\nselection of Marte Broehm's work will be forthcoming in QUINTET, \r\nwith Ishmael Reed, Jack Marshall, Sam Hamod and Steve Kowit, due out \r\nin late 2006. A first solo publication, To Breathe You In (tentative \r\ntitle), is planned for early 2007.Ms. Broehm says, \"I have always \r\nwanted to write, began writing before being a teen, yet everything \r\nelse came first... Until now. I have been seriously marked, filled, \r\nand influenced by Sylvia Plath, Adrienne Rich, Gerald Stern, \r\nFederico Garcia Lorca, Pablo Neruda, Sharon Olds, and by life: \r\neverything right\/ everything wrong. My three mentors, Cecilia \r\nWoloch, Sam Hamod, and Harry Griswold, as well as my beloved \r\ncommunity of poets and writers, have each pressed new breath into \r\nme. I love the sounds of words, the work of the mind within a poem; \r\nI love the fact that each of us brings our own experience to a poem \r\nand however we read it, it's right. \r\n \r\nReviewer Comments\r\nFellow poets critiquing Marte Broehm comment that her poems \r\nare \"musical\"; \"shocking\"; \"provide strong images that reveal time \r\nand place\"; \"poems that are tersely and sparsely powerful and \r\nrich\". Additional recognition has been given to Marte for editing \r\nher first book, designing the book, as well as its cover: a \r\nwatercolor painting by Marte. She is also recipient of an award from \r\nthe National Endowment for the Arts.\r\n \r\nMona Jean Cedar\r\n\r\nA lover of languages, the dancer, Mona Jean Cedar, composes and \r\nchoreographs poetry in spoken word with the world's sign languages, \r\nadds her husband's original music and creates multi-communicative \r\nworks of art. Born in New York, migrated to Los Angeles, to \r\nacademically achieve an AA in Dance, an AS in Sign Language \r\nInterpreting, and from CSUN a BS in Deaf Studies with a focus in \r\nperformance. Other pertinent education occurred at the Julliard \r\nSchool in New York City for theatrical interpreting and the National \r\nTheater of the Deaf. Her most fulfilling spiritual experiences are \r\nas a performance artist at many Burning Man festivals and as a \r\nparticipant in the National Poetry Slam Finals, both as poet and \r\ninterpreter. Ms. Cedar can literally be described as \"poetry in \r\nmotion\". \r\n \r\nChella Courington\r\nBorn and raised at the tip of the Appalachian Mountains in northern \r\nAlabama, Chella Courington grew up in a family of storytellers. \r\nSeduced by the written word, she pursued a Doctorate in Literature \r\nat the University of South Carolina and studied with James Dickey. \r\nIn 2002, she moved to California and returned to writing poetry. Now \r\nteaching at Santa Barbara City College, she has published poetry in \r\nover twenty journals including Spillway, Carquinez Poetry Review, \r\nPermafrost, Poemeleon, Iris, and King Log. Her first chapbook, \r\npublished by Foothills Publishing of New York in November 2004, is \r\nentitled Southern Girl Gone Wrong.\r\n \r\nMs. Courington says, \"Much of my poetry is woman-centered and \r\nlargely influenced by artists like Lucille Clifton, Virginia Woolf, \r\nToni Morrison, Denise Chavez, and Dorothy Allison. Other influences \r\ninclude my best friend's mother, an unconventional thinker in the \r\nrural South who taught me that reading was key to a fuller life, and \r\na colleague in graduate school who showed me that the love for women \r\nawakens us to our potential as artists and intellectuals. As a \r\nresult, I write from the body with a desire to know where I am \r\nphysically and spiritually, creating a voice and place often ignored \r\nby others.\" \r\n \r\nReviewer Comments\r\n\"No one writes of sexuality more sweetly or bitterly, when taken by \r\neven the most holy, than Chella Courington. Her poems sizzle under \r\nsouthern sun and make you want to go take a cold shower. Her talk is \r\ntough, sensual, sparse yet laced with lyricism and love for the \r\nfamily, in the end, and all things southern that come from staring \r\ntruth in the face. Startling images are there not for effect, but \r\nrise out of suffering, and like her, we are \"saved\" by memory's \r\nexquisite touch.\" - Perie Longo, Author of The Privacy of Wind\r\n \r\n\"Courington' s poetry is infused with magic, and to enter her \r\nlanguage is to wade slowly through water, where a Southern Gothic \r\nworld is re-created and re-imagined, and defiant Southern girls \r\nopenly celebrate their sexuality until one by one they become known \r\nas a \"Southern Girl Gone Wrong.\" - Lisa Williams, Author of Letters \r\nto Virginia Woolf and The Artist as Outsider on the Novels of Toni \r\nMorrison and Virginia Woolf\r\n \r\nConsuelo Flores\r\nConsuelo Flores is a Creative Non-Fiction MFA student at Antioch \r\nUniversity, Los Angeles where she was awarded the Diversity and \r\nEloise Klein Healy Scholarships, given to a student that shows the \r\nmost promise. She has read at Self Help Graphics, the Armory Center \r\nfor the Arts, Beyond Baroque, The Autry Museum, the J. Paul Getty \r\nMuseum and several colleges and universities throughout the U.S. and \r\nMexico. \r\n \r\nMs. Flores presents her work in a unique personal performance style, \r\npoetic illustrations of life that reflect family and culture mixed \r\nwith social perspective. She prolifically writes \"Day of the Dead\" \r\nthemed work, remembrances and celebrations of life, literary altars \r\nshe builds as offerings to her dead.\r\n \r\nMaria Elena Gaitan\r\nMaría Elena Gaitán is an interdisciplinary artist who utilizes her \r\nextraordinary musical and oratorical skills to examine cross-\r\ncultural, race, gender, and class issues, as they affect Latinos in \r\nthe United States. Gaitán has been on tour from Los Angeles to \r\nLisbon for over 10 years with shows that are often presented to \r\nstanding room only audiences.\r\n \r\nMs. Gaitan is perhaps best known for The Adventures of Connie \r\nChancla, a satirical performance on the State of Affairs in \r\nPocholandia, the ancestral lands of the Pocho people. The state of \r\nthe taco, the politico and the maniaco will be reflected upon as \r\nConnie Chancla takes the audience through a wild counter-narrative \r\nof 150+ years of borders, barriers and stereotypes through \r\nmultilingual humor, pre-hispanic codices, sculpture, paintings, \r\nphotography, video... and a little cello music to soothe the soul.\r\n \r\nLiz Gonzalez\r\nLiz González grew up 60 miles east of Los Angeles in Rialto, \r\nCalifornia. In 1999, she earned an MFA in English and Creative \r\nWriting through Mills College in Oakland, California. She was the \r\n1999\/2000 Writer in Residence at the Phoenix College Creative \r\nWriting Program in Phoenix, Arizona. Currently, liz lives in Long \r\nBeach, California, and is working on a novel which will contain \r\npoetry.\r\n \r\nLiz's poetry, fiction, and memoirs continue to appear in journals \r\nand periodicals such as Cooweescoowe, Caguama, Plum Ruby Review, The \r\nNovember 3rd Club, Heliotrope, Comet, Luna, Brújula, Compass, Cider \r\nPress Review, Spillway, The San Francisco Chronicle, and New Delta \r\nReview, and in the anthologies Women on the Edge: Writing from Los \r\nAngeles, Open Windows: An anthology of five Poetry in the Windows \r\nProjects, So Luminous the Wildflowers: An Anthology of California \r\nPoets, and Grand Passion: The Poets of Los Angeles and Beyond, among \r\nothers. She is the author of the limited edtion chapbook Beneath \r\nBone, published by Manifest Press. Her recent awards include the \r\nArts Council for Long Beach's 2005 Professional Artist Fellowship, a \r\nfiction-writing grant from The Elizabeth George Foundation and a \r\nresidency at Hedgebrook: A Retreat for Women Writers.\r\n \r\nKim Grant \r\nKim Grant is the product of a bipolar mother who wrote hundreds of \r\nunpublished poems and a father who drove a truck and worshipped \r\nJohnny Cash and Kenny Rogers. \r\n \r\nMs. Grant began her illustrious writing career at the age of six \r\nwith a poem about flowers that was published in the weekly \r\nnewsletter of the Terre Haute, Indiana Federal Prison. The inmates \r\nloved it. With that encouragement she has continued writing and \r\nproducing plays, having her short stories published in small press \r\nand creating poems which have been described as \"notes by someone \r\npeeping through a broken, dirty window into a stranger's house.\" \r\n\r\nShe was born in Springfield, Illinois and likes to point out that \r\npeople in the Midwest can hold their liquor better than their L.A. \r\ncounterparts but notes that said liquor consumption may affect their \r\njudgment when it comes to attractive attire. \r\n \r\nMs. Grant is a Glassell Park Scorpio bon vivant, who buys drinks for \r\nher friends, throws impromptu dinner parties regularly and books \r\nbands for an alt-country concert series called, \"The Grand Ole Echo\" \r\nin Echo Park. You would want to meet her. Yes. You would. \r\n \r\nCharlotte Innes\r\nCharlotte Innes writes about books and the arts for many \r\npublications, including the Los Angeles Times and The Nation. Her \r\npoetry has appeared in The Hudson Review, Ekphrasis, Speechless \r\nMagazine, and will next appear in The Eleventh Muse. She has taught \r\njournalism at the University of Southern California and Columbia \r\nUniversity, New York. Currently, she teaches journalism and creative \r\nwriting at Brentwood School, Los Angeles. Her awards include a first \r\nprize in the Poetry in the Windows V contest (2003) in Los Angeles. \r\nShe also has interviewed many writers and cultural icons, including \r\nOprah Winfrey and Tony Morrison. Her Nation essays on writers \r\nJeanette Winterson, Kazuo Ishiguro, Elfriede Jelinek, and Yann \r\nMartel are anthologized in Contemporary Literary Criticism (Vols. \r\n64, 110, 169, 192). \r\n \r\nOf her poetry, Ms. Innes says, \"I recently wrote in Speechless the \r\nMagazine that, perhaps because I came late to poetry after a long \r\ncareer in journalism, I sometimes feel, like the poet Mark Strand, \r\nthat \"Ink runs from the corners of my mouth\/There is no happiness \r\nlike mine.\/I have been eating poetry.\" Poetry as necessary as eating \r\nor breathing. Poetry as joy. And poetry as \"joy in the bookish \r\ndark,\" as Strand puts it. When I was a child I was always reading. \r\nBut I also wanted to be an Antarctic explorer. And there's a sense \r\nin which poetry has taken me to that exciting, icy place-a place \r\nwhere I keep pushing on, ecstatically, through disturbing blizzards \r\nin search of something I know is right, but I'm not always quite \r\nsure what it is. \r\n \r\nWhich writers shaped me? Shakespeare, Chekhov, Sylvia Plath, T. S. \r\nEliot, Rilke, and the French Surrealists, for sure-and many others \r\nwhose music probably worked its way in while I wasn't paying \r\nattention, perhaps Wordsworth, whom I read at school, perhaps John \r\nClare, Fernando Pessoa, John Ashbery, and Elizabeth Bishop.\"\r\n \r\nReviewer Comments\r\n\"Charlotte Innes is already a brilliant poet, one whose work excites \r\nme on both a linguistic and a personal level. I compare her to such \r\nmid-Atlantic poets as Sylvia Plath and Anne Stevenson for her \r\nangular and precise language, brainy lyricism and intensity of \r\nfeeling. … editors are beginning to take note.\" -David Mason, author \r\nof Arrivals, The Country I Remember, and The Buried Houses.\r\n \r\n\"In Charlotte Innes' newest, and best, poems-the deeply \r\nsatisfying \"More Moon than Moon\" series - she has arrived upon a \r\nlanguage both strikingly clear and suffused in mystery, frank in \r\ntone yet dreamlike in its shimmering apparitions and witty, \r\nunexpected connections. Warning: the moon poems can be addictive. I \r\ndefy anyone to stop after just one.\" - Suzanne Lummis, present and \r\nfounding Director of the Los Angeles Poetry Festival, and author of \r\nIn Danger.\r\n \r\nYvette Johnson\r\nYvette Johnson studied Creative Wriiting, Theater and Dance at \r\nTrinity College in Hartford, Connecticut. She has written her first \r\ntwo chapbooks this year, which are entitled Poem and Other Poems and \r\nBluffs. She is currently reading case sensitive by Kate Greenstreet \r\nand Queen of Bohemia by Philomene Long.\r\n \r\nBridget Kelley-Lossada\r\nBridget Kelley-Lossada is a Los Angeles poet\/writer who received her \r\nMaster of Fine Arts in creative writing from Antioch University Los \r\nAngeles. Her work has appeared in various journals and anthologies \r\nsuch as Inkwell, 51%, Moondance, Invisible Plane, A Pagan's Muse, \r\nand Lounge Lit. \r\n \r\nReviewer Comment\r\n\"Bridget Kelley-Lossada' s poems are quirky, playful, and dead \r\nserious -- never superficial, never facile, and never, ever \r\npredictable. I've used the poems in her chapbook, The Recipes Are \r\nin Here, as models in the workshops I lead for more than a decade. I \r\nnever tire of those poems -- spare, luminous, graceful and full of \r\nsurprises.\" - Cecilia Woloch\r\n \r\nLucinda Michele Knapp\r\nLucinda Michele Knapp (Michele) left a low-paying but rewarding \r\ncareer as a fine art teacher for a low-paying but rewarding career \r\nas a writer. Along the way she's learned to spin swords, eat fire, \r\nspeak bad Italian, deep-fry Twinkies, twirl tassels, flee seedy \r\nmotels and shoot roman candles. She's been a loaded Santa, a kung fu \r\nstudent, and a screaming mime. Her short stories sketch out images \r\nin impressionistic brushstrokes, because she's still a painter at \r\nheart, and her journalism has been published in the Los Angeles \r\nTimes, the LA Alternative Press, Variety, and Coagula Art Journal. \r\nShe is a fourth-generation Valley girl, where there is a park, a \r\nstreet and a ranch named after her great-granddad, and where she can \r\ntaste the heat of history in her bones—a sense of perspective for \r\nwhich she is grateful to her ancestors. She lives in Los Angeles.\r\n \r\nMs. Knapp says, \"The only people for me …are the ones mad to live, mad \r\nto talk, mad to be saved, desirous of everything at the same time, \r\nthe ones who never yawn or say a commonplace thing but burn, burn, \r\nburn like fabulous roman candles exploding like spiders across the \r\nstars and in the middle you see the blue centerlight pop and \r\neverybody goes 'Awww!'\" - Kerouac. I've had free pancakes on Fat \r\nTuesday at the Glendale IHOP with Nuestra Señora la Reina de los \r\nAngeles del Río de Porciúncula and she says hi. That pretty much \r\ntops it all. \r\n \r\nCora M. Moncrief\r\nCora M. Moncrief has won the Organization of Black Screenwriter' s \r\nNational Script Writing Competition in the Television Sitcom \r\ncategory, is an alumna of the Warner Brothers Comedy Writer's \r\nWorkshop, and has written for ABC's Hangin' With Mr. Cooper. She is \r\nthe author of a book entitled When Colored Was Cool, which focuses \r\non the life of blues singer, Bessie Smith. The most important year \r\nof Bessie's life is chronicled as it might have been seen through \r\nthe eyes of a young, idealistic reporter. Filled with laughter and \r\nlove, freaks and geeks, and loyalty and friendship, this story is a \r\nwild, memorable romp containing colorful characters and \r\nunforgettable moments. When Colored Was Cool also details the lives \r\nof African American female performers who traveled on what was then \r\ncalled \"the chittlin' circuit\" during the 1930's and 40's. In the \r\nend, the book is essentially about following dreams, honoring \r\nfriendships and never giving up hope. It also highlights the life \r\nof a woman who is too often forgotten or only remembered for her \r\ncontribution to the creation of the blues. It tells of a woman who \r\novercame incredible poverty and adversity, and helped create a \r\nmusical legacy that lives on to this day.\r\n \r\nUnlike the sound bite scandals of today, this is scandalous \r\nbehavior which is also very provocative and thought provoking. \r\nSparsely written in screenplay style, it amazed me how completely it \r\ntook me into the scenes. It was like tumbling through a magnifying \r\nglass into those intriguing background scenes of colored speakeasies \r\nin \"Fried Green Tomatoes\" or \"The Color Purple\" with the lyrics of \r\nthe blues moving the story line along. \r\n \r\nReviewer's Comment\r\nDespite the title, this fictionalized history goes far beyond \r\nanything racial. Author Moncrief suggests that on one level this is \r\na story of acceptance. For me it also stimulates thoughts and debate \r\non many of today's situations: the complicated society of working \r\nwomen, sexual roles and identities, domestic violence, life on the \r\nroad, the rap artists and the thugs and the players. . . and on and \r\non. This book also inspired me to delve deeper into Bessie Smith \r\nresearch and I guess that is the greatest compliment that can be \r\npaid to any author. - J. Beggs\r\n \r\nReina Prado (aka Santa Perversa)\r\nReina Alejandra Prado challenges taboos imposed on Latina women by \r\ndelving into the realm of the erotic in her published poetry \r\ncollection Santa Perversa and Other Erotic Poems (San Diego: Calaca \r\nPress, 2001). In the midst of the Arizona monsoons, Prado carved \r\nout her poetic niche affirming that sexesmiotroeró rtico (sex is my \r\nother erotic). The aridness of the Sonora desert delivered her to \r\nthe foggy landscape of San Francisco and the smog concrete milieu of \r\nLos Angeles. She has read to audiences throughout California, \r\nArizona, New York City, Washington, DC, and Mexico City.\r\nFrom 1998-2000, Ms. Prado performed with the intergenerational, \r\nmulti-disciplinary, Chicana collective L.A. Coyotas. Since 2004, \r\nshe is a member of The NeoSpinsters, who premiered Second Wind at \r\nThe Poetry & Sexuality Conference hosted at the University of \r\nStirling, Scotland. The United States presentation was at the \r\nPerformance Studies International Conference hosted by Brown \r\nUniversity, April 2005. Prado later premiered an interactive \r\ndurational piece entitled The Ghost of Us at Highways Performance \r\nSpace. This piece honors the memory of women who have died in Ciudad \r\nJuárez for the show \"Not About Me,\" curated by Denise Uyehara. \r\nInspired by the spirit and attitude of Santa Perversa, Prado created \r\nanother interactive performance Take a Piece of My Heart for \r\nthe \"Love & Sex at Midnight\" show curated by LeVan Hawkins, also at \r\nHighways.\r\n \r\nMs. Prado is a doctoral candidate in the Program of American Studies \r\nand Ethnicity at the University of Southern California. In 2004, \r\nshe was awarded a Smithsonian Dissertation Fellowship where she \r\nconducted research at the Archives of American Art (2005-2005). \r\nActively involved in the arts milieu, Prado has curated exhibitions \r\non contemporary American Art, organized arts education events for \r\nLACMA, SPARC and Plaza de la Raza, and taught university courses in \r\nChicano Studies, Women Studies, and Mexican Art History. Reina \r\nPrado's link to Calaca Press: \r\nhttp:\/\/www.calacapress.com\/reinaaprado.html\r\n \r\nJudith Terzi\r\nShiny Things Make Things Come Back (2002) was Ms. Terzi's first \r\nchapbook, a collection inspired, in part, by her mother's five-year \r\nlong, see-saw adventure with severe vascular dementia. In her second \r\ncollection, Lightning Bugs Don't Travel Westward (2004), while a few \r\npieces relate to this illness, most are reflections on nature, \r\ntransitions, institutions, or on the general political and social \r\ndementia of our times. Ms. Terzi's work has appeared in various \r\nprint and online publications, including The Teacher's Voice (2005), \r\nthe anthology, An Eye for an Eye Makes the Whole World Blind: Poets \r\non 9\/11, Moondance (Moondance.org) . \r\n \r\nMs. Terzi says, \"While most of my poetry is in English, I do enjoy \r\nwriting in French and Spanish as well. My CD, Wings of the Andes, is \r\na blend of old and new poems. I hold an M.A. in French Literature \r\nand am a career teacher, having taught many different subject \r\nmatters at every level of instruction. The highlights of my career \r\nhave been teaching English and French at an American School in \r\nAlgiers, Algeria; writing at California State University, Los \r\nAngeles; and French language and literature at Polytechnic School in \r\nPasadena, California.\"\r\n \r\nReviewer Comment\r\n\"Judy has been quick in sensing the rhythm or beat of a poem. She \r\ncan tell when a line has lost the rhythm. She has been showing a \r\nkeen interest in correct usage of English language...When she \r\nrecites poetry, her posture could be improved, however; she drops \r\nher head forward, and a bit to one side. She seems to enjoy creative \r\nwork. - G. Metzner, Ms. Terzi's third grade teacher\r\n \r\nKathleen Tyler\r\nKathleen Tyler's poetry has appeared or is forthcoming in numerous \r\njournals including Runes, Solo, Margie, Coe Review, Visions \r\nInternational, Diner, and Poetry Motel. She currently teaches \r\nEnglish at a public school in Los Angeles. Some poets who she \r\nespecially likes are Marsha de la O, Larissa Szporluk, Yusef \r\nKomunyakaa, H.D., and Garcia Lorca.\r\n \r\nKathleen's first book of poetry, The Secret Box, is forthcoming in \r\nSeptember. \r\n \r\nReviewer Comments\r\nThe Secret Box is full of gorgeous and dangerous poems; poems with \r\nthe flickering intensity of film noir; poems in which violence or \r\ntenderness -- or both -- might erupt at any moment, and do. I \r\nadmire Kathleen Tyler's craft and her courage. These poems are gutsy \r\nand lyrical, risky and magical; they speak of, and to, a dark and \r\nbeautiful world. - Cecilia Woloch\r\n \r\nNegotiating terrain that is both provocative and revealing, these \r\npoems leave the senses singed with formidable hope and startling \r\nclarity. - Jawanza Dumisani\r\n<\/p>\n","contact":"rs@carlottaspassion.com","link":"www.carlottaspassion.com","address":"2012 Colorado Blvd., Los Angeles, 90041","phone":"323 259 1563","parent_id":0,"mime_type":"image\/jpeg","summary":""Le Deuxieme Sexe?" Women's Art Exhibit and Writer Series at Carlotta's Passion Fine Art in Eagle Rock\r\nChicano Studies, Women Studies, and Mexican Art History. Reina \r\nPrado's link to Calaca Press: \r\nhttp:\/\/www.calacapress.com\/reinaaprado.html\r\n \r\nJudith Terzi\r\nShiny Things Make Things Come Back (2002) was Ms. Terzi's first \r\nchapbook, a collection inspired, in part, by her mother's five-year \r\nlong, see-saw adventure with severe vascular dementia. In her second \r\ncollection, Lightning Bugs Don't Travel Westward (2004), while a few \r\npieces relate to this illness, most are reflections on nature, \r\ntransitions, institutions, or on the general political and social \r\ndementia of our times. Ms. Terzi's work has appeared in various \r\nprint and online publications, including The Teacher's Voice (2005), \r\nthe anthology, An Eye for an Eye Makes the Whole World Blind: Poets \r\non 9\/11, Moondance (Moondance.org) . \r\n \r\nMs. Terzi says, "While most of my poetry is in English, I do enjoy \r\nwriting in French and Spanish as well. My CD, Wings of the Andes, is \r\na blend of old and new poems. I hold an M.A. in French Literature \r\nand am a career teacher, having taught many different subject \r\nmatters at every level of instruction. The highlights of my career \r\nhave been teaching English and French at an American School in \r\nAlgiers, Algeria; writing at California State University, Los \r\nAngeles; and French language and literature at Polytechnic School in \r\nPasadena, California."\r\n \r\nReviewer Comment\r\n"Judy has been quick in sensing the rhythm or beat of a poem. She \r\ncan tell when a line has lost the rhythm. She has been showing a \r\nkeen interest in correct usage of English language...When she \r\nrecites poetry, her posture could be improved, however; she drops \r\nher head forward, and a bit to one side. She seems to enjoy creative \r\nwork. - G. Metzner, Ms. Terzi's third grade teacher\r\n \r\nKathleen Tyler\r\nKathleen Tyler's poetry has appeared or is forthcoming in numerous \r\njournals including Runes, Solo, Margie, Coe Review, Visions \r\nInternational, Diner, and Poetry Motel. She currently teaches \r\nEnglish at a public school in Los Angeles. Some poets who she \r\nespecially likes are Marsha de la O, Larissa Szporluk, Yusef \r\nKomunyakaa, H.D., and Garcia Lorca.\r\n \r\nKathleen's first book of poetry, The Secret Box, is forthcoming in \r\nSeptember. \r\n \r\nReviewer Comments\r\nThe Secret Box is full of gorgeous and dangerous poems; poems with \r\nthe flickering intensity of film noir; poems in which violence or \r\ntenderness -- or both -- might erupt at any moment, and do. I \r\nadmire Kathleen Tyler's craft and her courage. These poems are gutsy \r\nand lyrical, risky and magical; they speak of, and to, a dark and \r\nbeautiful world. - Cecilia Woloch\r\n \r\nNegotiating terrain that is both provocative and revealing, these \r\npoems leave the senses singed with formidable hope and startling \r\nclarity. - Jawanza Dumisani\r\n","numcomment":0,"fileurl":"\/uploads\/2006\/09\/carlottas_passion_womens_exhibit.jpg","filesize":"64.3 kibibytes","article_url":"\/news\/2006\/09\/177388.php","image":{"original":"\/uploads\/2006\/09\/carlottas_passion_womens_exhibit.jpg","small":"\/uploads\/2006\/09\/carlottas_passion_womens_exhibit.jpgthumb.jpg","medium":"\/uploads\/2006\/09\/carlottas_passion_womens_exhibit.jpgmid.jpg"}},"attachments":[],"comments":[]}