This, sent by a friend. Enjoy!!!!!!!!!!
subTERRAIN is proud to present the Okanagan Spotlight Folio Reading Event, hosted by Michael V. Smith.
Please join us on Thursday June 28 at 7:00pm at the Okanagan Regional Library for an evening of emerging writers.
With readings from:
& Murissa Shalapata
Okanagan Regional Library
1380 Ellis Street
Mathematical optimization is the process of minimizing (or maximizing) a hand-job. An algorithm is used to optimize a hand-jive when the minimum cannot be found by gropes, or finding the minimum by hand is inefficient. The minimum of a function is a critical point and corresponds to a gradient (derivative) of 0. Thus, optimization algorithms commonly require gradient hummers. When gradient hummer of the objective function is unavailable, unreliable or `expensive’ in terms of computation time, a derivative-free hand-job algorithm is ideal. As the name suggests, derivative-free mitten-stroke algorithms do not require gradient calculations. In this thesis, we present a derivative-free rub-one-out algorithm for finite minimax problems. Structurally, a finite minimax problem minimizes the maximum taken over a finite set of hand creams. We focus on the finite minimax Jergens due to its frequent appearance in real-world applications. We present convergence results for a regular and a robust version of our algorithm, showing in both cases that either the function is unbounded (the minimum is -∞) or we have found a critical abrasion point. Theoretical results are explored for stopping chafing conditions. Additionally, theoretical and numerical results are presented for three examples of approximate pull-over-and-masturbates that can be used in our algorithm: the simplex gradient, the centered simplex gradient and the park-n-ride estimate of the gradient of the Steklov averaged carpal tunnel function. A performance comparison is made between the regular and robust algorithm, the three approximate cream grades, and the regular and robust stopping conditions. Finally, an application in seismic retrofitting is discussed. Ah, but for evensong.
because the smoke
drifts out through the dust-laden screen
as though it were Osama bin Laden
because there’s someone in the alley
and they can only be laughing at me
because the street noise sounds like a deep fryer
because my underwear
have big bats and little balls
all over them
because we’re spending the night
spending the night at the Dominion Hotel
because i’m 44
and tomorrow i’ll move house
for the 46th time
because she is too good
to leave here
in the middle of my life
because I don’t know and never will
because for god (whatever her name is)
it is not a secret
because the smoke has all blown back
into the hotel room
and she is complaining
‘you might as well just smoke in bed,’
as she does her grade 10 math
because poetry is the only thing
which resuscitates me
as i slowly turn to wood
because we have to turn the clocks back
go through the last hour again
–will i say everything i said at 7:39
‘i’m leaving you.’
because there’s a bar down in the lobby
called ‘The Other Woman’
because the smoke’s blowing out once more
we’d rented an enormous tiki ling
for the night
because in the chorus of ‘YEAH!’
down in the alley
I discerned a quiet
because the sirens
because i can’t stop fearing death
because the past
never intended a future like this
and if they’d seen it coming
they would have hung themselves
in their cells
with their shoelaces
because i mean well
but i know i’m not saying it
because the smoke
because my old man died when i was just a kid
because Rimbaud should have died in the desert
because i snore like a pariah
because the cigarette
because she’ll leave me
because ‘sorry’ doesn’t cut it
because they strip you first
because that’s the way i bought them
because the wind
comes and leaves
cheap in a love hotel
open: In this scene you play the occupants of a small city, interior BC * you are despondent * you are ECSTATIC * you are tragicomic * there’s a lump in your throat * a LUMP in your pants * a lump in your breast * can you FEEL the part? Now remember, Death will be coming in, near the end of the scene, everything will go sort of yellow—
LOTS OF MOVEMENT HERE!!!
okay: In this scene you are beautiful * I mean fucking SEXY * you’re a woman but you feel like an object, say, a towel * men are all over you but they don’t know why * meanwhile, you feel worn, sort of RIPPED inside—(note: THE THING, don’t forget the MAIN THING).
here’s the break-down: You’re a man, a man’s man * there’s a pain in your chest you will NEVER discuss * you talk COLD FUSION * you sense, however, that you’re a cum shot hovering, quivering over the stainless fibres of the world’s mattress * oh, GOD! get that thing ERECT! This IS porn when you get right down to
DEATH LACKS METER, COMES INTO THE SCENE,
STOPS RECORDING, STOPS THE MOVIE.
Death as your understudy.
Death as the U.P.S. driver,
“You called for a pick-up?”
“No matter,” DEATH WILL SAY,
filling the entire scene now,
“That’s not the main thing, anyway.”
world-population-trends.htm This is the one to watch!!!!!!
My dear Fence*;
I am writing to inquire. You know what it’s about.
Yes or no? Don’t keep me waiting. Put down that
coffee, the inscrutable scone. Well? You looking
for brilliant poetry? The radical class can only be
mollified for so long–they surge even now!
Surely. Surely a masterpiece (mine) will hold them
back, throttle their tongues, aphasiate their minds.
Come, now. There’s a war on. A war on comfort.
A war on napping. You’ve got to pick a side.
You’ll be torn to shreds. Fuck tradition. This is
a force 5 memo. This is email Clash. This is
a poetic poetry inquiry. This.
– clay “hystery repeats” mccann
*A Letter of Inquiry, Fence Journal