Thursday, August 9

As if in tending

As if in tending

As he was once he was a monster

As the O-ring encircles his throat
I play him Billie Holiday on the radio

As a father he was
a storm door slamming

As an intubated being
he has no glasses no watches no anger
as the monsteronce voids out

As the horizon moves beyond intensive
they celebrate a birthday at the nurses’ desk

As the I in witness I intended tending

as the palliative places glasses in
cases watches in plastic

Thursday, June 21

Differing embodiment (summer 30)

Still keep still
under the moment

under a silver egg the
oracle became

the dawn ingot river motion o

Still no haven in
the habits we are
stars abandoned
and found

Still keep still
in the first rain
strife every minute
in the hollow

her faces are
sounds collected
then abandoned still

Wednesday, February 17

from "a monsters topic sentence" in progress

I am afraid of
bleach blue field tests
sky flowing out of sky

and monsters cackle
at the person I wish I was
hard and longer still

before I believe in
the mesquite cradle
and the life beneath

circles in circles
pain shadow mixed
my door is open

Sunday, April 5

April 5 (easter)

Pick a word that could also be your name.

your name could also be
a specter slithering 
a candy red puncture wound
         sidewinds, faltering

The embittered  milky afternoon
the word meaning a hollow ailanthus   moving  from green to yellow
the word meaning ailanthus past  
and in the present 
oranges rot  and friendships  ruin

this afternoon a double double  non-essential
every changing line lined with sun
life rises and set

burnished knowing forward head 
first down in ruins and numb. 

Saturday, April 4

April 4th

work     as a thing    startles
as a completed now    

is this whispering
what is more  curative
or closer to death       

is desire
what is graceless
little known haphazard
as a thing    

the random would be
kinder and more beautiful

what is more

the habit
is not a place of chance

what stands before chaos       

startled compulsion 

Friday, April 3

APRIL 3rd: good friday (27 minute)

as we forgive those
with unspeakable wreathes

this chalice bloom hounded and drawn
as mercy’s theft

strips us of grace and unrequited love

cover us with my thorny portion
as pursued trespass against

but physical pain
hounded and redrew

in mystery as I cross with joy

Thursday, April 2

pril 2nd: keybord (15 minutes)

to stumble through
& no
double u or exits
up the turnpike

on the left mirror
for this
cloudless visit
eyes &;
blooming closer or limitless

seen self seen other
in the pupil
in the future

Wednesday, April 1

April 1st, 2015 (21 minutes)

is this day
smaller than sky
but larger than  errors

is the moment
a solution for the
grey and early birds

is your head is a
liminal hem on the self

when set it between us
do we call it a hem flesh

and I also wondered if
I were singing for my supper

Wednesday, January 7

transom interlude

to desire a
made room
a dreaming embodiment
and here I ring
in card carrying compassion


Tuesday, January 6

bayesian interlude

away from rivers
straight into drift

how to keep loving

when the
everything made of not everything
added to everything made of nothing

requires a


Monday, January 5

blogging bach January 5th 17 minutes

if momentum allows

I’d stand

but circumstance
waltzed through
the ashes

Thursday, December 11

non bachian interlude

memory:   trauma a shred system
lost catechism

                 chromatic careen

Wednesday, December 10

Blogging Bach II: Bach Knot I (33 minutes)

Blogging Bach II: Bach Knot I (33 minutes)

in the lost platform of the sky

alley dove as bow line
f(x) where x equals island or imago

trailing arrows
possible and/or impossible

a winter other
here in the coveted where 

I am velocity

ciphers and sound

Tuesday, December 9

blogging bach II (2014; 26 minutes)

the perpetual optimism of
o bring me back the river

expression is
a challenge to
the great decline to
the diminished & terrified momentum

and the self part becomes music

sky coax once where wash once
the spread notes
a city plucked

of the internal
perpetual optimism of

the object itself  an observation of the making of the object

coaxing  where once  erasing          an absence  how

Friday, May 23

I'm reading for The Switch, 5/24 5pm.

Maryrose Larkin & Anne Shaw, 5/24, 6 p.m., Hazel Room

The Switch presents poets Maryrose Larkin and Anne Shaw.

When: Saturday, May 24, 6 p.m. FREE
Where: The Hazel Room, 3279 SE Hawthorne Blvd, Portland

Maryrose Larkin lives in Portland, where she works as a freelance researcher. She is the author of Inverse (nine muses books, 2006), Whimsy Daybook 2007 (FLASH+CARD, 2006), The Book of Ocean (i.e. press, 2007), DARC (FLASH+CARD, 2009) and The name of this intersection is frost (Shearsman Books, 2010) Marrowing (Airfoil, 2010) and The Identification of Ghosts (Chax, 2013). Maryrose was a founder of Spare Room, a Portland-based writing collective, and is co-editor, with Sarah Mangold, of FLASH+CARD, a chapbook and ephemera poetry press. Maryrose received her MFA from Bard College's Milton Avery Graduate School of Art. She keeps her friends close and her muses closer. 

Anne Shaw is the author of Dido in Winter (Persea 2014) and Undertow, winner of the Lexi Rudnitsky Poetry Prize (Persea 2007). Her poems and reviews have appeared in Harvard Review, Denver Quarterly, Crab Orchard Review, The Los Angeles Review, Barrow Street, and New American Writing. She has also been featured on Poetry Daily, Verse Daily, and From the Fishouse. A graduate of Yale and George Mason University, Shaw is currently a student of sculpture at the School of the Art Institute in Chicago. She and her pit bull enjoy scaring small children and eating chicken bones from under picnic tables.

by Maryrose Larkin 
from cure fraction

the stranger

in the margins
soft & rooted

her ideas

as is her habit

her house 
has eaten me
& kept me in awe

by Anne Shaw
New Architecture

& therefore the windows in which you must move
through hallways or rooms, their jittery
comeuppance, their glossy tabletops. What is a standard

occupation. No, really, define this. Is it self-
reliance? Conduit or spoon? That scrubbrush
ain’t done with its teething, its ache for, its hot

mess. I too have spent whole ages under the kitchen sink
erect with your comings and goings, my bristles tuned
to the latchkey & playing your favorite song. But this is how the body fails

its rest. In my eyes there are tiny funnels. In my ear
there’s a small, gross space. Meantime the grasses. Lakelight.
Creatures in the dirt-mounds. Small things. Burrowing, shining.

Wednesday, October 23

Margin Shifts and Circuit Riders Thursday and Friday

THURSDAY: Seattle poetry collective Margin Shift presents 
Maryrose Larkin and Standard Schaefer

IdentificationofGhosts 215 331   NotebookFalsePurgatories-215-331

Hedreen Gallery at Seattle University

901 12th Avenue, Seattle

Thursday 10/24/2013
Reading begins at 7pm
Admission is free.

Portland poet Maryrose Larkin's books of poetry include Identification of Ghosts (Chax, 2013) and The Name of This Intersection is Frost (Shearsman Books, 2010). Larkin is a founding member of Spare Room, a Portland-based writing collective which has presented more than 150 writing events over a ten year period. She is also co-editor, with Sarah Mangold, of FLASH+CARD, a chapbook and ephemera poetry press. Larkin has worked collaboratively with a variety of visual and musical artists, including the bands Kaya Onieda and Activity Universal Associations. She is currently working on "speaking buildings," a part of which is a collaboration with visual artist Anna Daedalus that was selected as part of the Art in Rural Storefronts project of Art Center of Corvallis.

Portland poet Standard Schaefer's books of poetry include The Notebook of False Purgatories (2011) and Water & Power (Agincourt, 2005). His first book of poetry, Nova, was selected for the 1999 National Poetry Series and published by Sun & Moon Press. Schaefer's poetry has been translated into Italian and anthologized internationally. He has co-edited several literary and arts journals including Ribot, New Review of Literature, Rhizome, and Or and has taught writing and literature at Otis College of Art in Los Angeles and California College of the Arts in San Francisco.

FRIDAY: Daedalus and Larkin 
Circuit Rider Walking Reception and Talk 

Reception and Artist Talk

7pm, Friday 10/5/2013
Brownsville Arts Association
225 N. Main St, Brownsville, OR

Circuit Rider Walking is a collaborative window installation that collages poetry and photographic images by Anna Daedalus and Maryrose Larkin. This project combines Daedalus’ painterly images of Oregon landscape with the poem Circuit Rider Walking written by Larkin about the town and people of Brownsville, its history and the history of 333 North Main St. It is also a continuation of Larkin’s Speaking Buildings - a literary installation project which creates site-specific poems for buildings based on the intersection of the building’s windows, history and language. For Daedalus, the project is part of the ongoing series, Night Tree.

Tuesday, October 1

Circuit Rider Walking a collaborative project with Anna Daedalus

from Brownsville, Oregon city website

We'll be installing on Friday!

I've been given a wonderful opportunity by The Arts Center in Corvallis and The Brownsville Art Association.

As part of the NEA Rural Arts Initiative, Anna Daedalus and I are creating a site specific Speaking Buildings poem/collage for the building that once held the Bank of Brownsville. The Art in Rural Storefronts project has also received support from the Oregon Arts Commission

The project, named Circuit Rider Walking, is a combination of rural Oregon nature images and a poem I'm writing based on language found in the historical records of Brownsville.
I owe a special thanks to the Linn County Historical Museum, without whom this work would not have been possible.

The project will be installed on the window at 333 North Main Street, Brownsville, Oregon October 5th through December 31st. Anna and I will be presenting an Artist Talk and Reception on Friday, October 25, 7 pm at the Brownsville Art Association  255 North Main Street, Brownsville, Oregon

Tuesday, September 24

Identification of Ghosts Publication Party AND LitHop PDX Reading

Although I haven't seen it yet, I'm so very happy to announce that my new book The Identification of Ghosts, has arrived in Portland.

I'll be reading at the Spare Room Chax Benefit Reading/Book Party at the Blackfish Gallery, 420 NW 9th Ave, Portland, OR 97209, this Friday. The event starts at 6:30, and I'll be reading in the first set, likely around 7:15. Chax readers from all over the Northwest will be here.

I'm also reading as part of the If Not For Kidnap crew at LitHopPDX on October 2nd. I'll be live at The Thorne Lounge at 7:30.

I am so excited I am refraining from exclamation points.

Sunday, June 9

kathryn l. pringle and Donald Dunbar Tonight

Spare Room Presents

kathryn l. pringle
Donald Dunbar

Milepost 5
Denizen Gallery
Sunday, June 09, 2013
$5 donation, no one turned away

kathryn l. pringle lives in Oakland, CA. She is the author of fault tree (winner of Omindawn's 1st/2nd book prize selected by CD Wright), RIGHT NEW BIOLOGY (Heretical Texts/Factory School), The Stills (Duration Press), and Temper and Felicity are lovers.(TAXT). Poems can be found in Denver Quarterly, Epiphany, Fence, Mrs. Maybe, Phoebe, and fiction can be found inManor House Quarterly and horse less review. Her work can also be found in the anthologies Conversations at the Wartime Cafe: A Decade of War (WODV Press), I'll Drown My Book: Conceptual Writing by Women (Les Figues), and  The Sonnets: Rewriting Shakespeare (Nightboat Books). In 2013, she was a very grateful recipient of a gift from the Fund for Poetry.

Donald Dunbar lives in Portland and helps run If Not For Kidnap. His book, Eyelid Lick, won the 2012 Fence Modern Poets Series prize, and his chapbook, Slow Motion German Adjectives, is recently out from PDX-based Mammoth Editions. He teaches at Oregon Culinary Institute in Goose Hollow.

Thursday, February 28

13 hats speaking buildings reception March 1st, 2012

temporary texts 12 x 16 gallery showing with 13 hats march 1 through 31st 3 receptions and more info here 12 x 16 gallery 8235 SE 13th Ave. No. 5  Portland, Oregon 97202. This is part of a larger project in progress both inside and outside my head called "speaking buildings"

Thursday, January 24

Temporary Text 1 (Temporary Winter 30)

Temporary Text 1 (Temporary Winter 30)
An installation

Opening Reception Tonight January 24, 2013 as part of Ripen; a Milepost 5 show as part of the Fertile Ground Festival
Milepost 5, 850 NE 81st Ave, Portland, OR 97213

We look through windows into a larger world, we look through panes of windows as if they were individual worlds, and we also see our own reflections.

Language, weather and perception are similar constraints

And in again

For a window to function as language, for text to function as mirror, for words to function as weather

This installation as a failure of materials a set of words acting as imperceptible or barely legible or as if weather moving or as if breathe moving or as if time

A building in need of a font to describe and shelter

And out again

This is a the first in a series of window and text based projects that explore the intersection of windows and texts

What happens between a person and a window?
The person sees the window, sees through the window, and sees her self reflected in the window.

What happens between a person and a text?
The person reads the text, reads through the text, and sees her self reflected in the text. 

This installation owes much to Jai Milx (my ghost arms) and to Lindsay Hill (instigator of the temporary text method) and to GLUK Fonts (the creator of SPINWERADthe open source font I chose to represent the history of this building)

The “permanent” or source text for this installation can be found in my book The Name of ThisIntersection is Frost (Shearsman books, 2010)

This installation is an interesting failure.