Hannah Weiner Papers
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Lyn Hejinian “The Inanimate Are Rocks, Desks, Bubble,” 50 from My Life 51 from Writing Is an Aid to Memory 54 the Green 57 “The Erosion of Rocks Blooms
in the american tree Silliman in the american tree Second Edition, with a new Afterword by Ron Silliman The “Language Poets” have extended the Pound-Williams (or perhaps the Pound-Williams- in the americanlanguage tree realism poetry Zukofsky-Stein) tradition in American writing into new and unexpected territories. In the process, these poets have established themselves as the most rigorous and the most radically experi- mental avant-garde on the current literary scene. This anthology offers the most substantial col- lection of work by the Language Poets now available, along with 130 pages of theoretic statements by poets included in the anthology. As such, In the American Tree does for a new generation of American poets what Don Allen’s The New American Poetry did for an earlier generation. The poets represented include Robert Grenier, Barrett Watten, Lyn Hejinian, Bob Perelman, Michael Palmer, Michael Davidson, Clark Coolidge, Charles Bernstein, Hannah Weiner, Bruce Andrews, Susan Howe, Fanny Howe, Bernadette Mayer, Ray DiPalma, and many others. “For millennia, poets have had to make their own way and the world that goes with it. The genius of these various writers and the consummate clartiy with which they are presented here make very clear again that not only is this the road now crucial for all poetry, it’s literally where we are going.” –Robert Creeley “This historic anthology brings into long-needed focus the only serious and concerted movement in American literature of the past two decades. It will be indispensible to anyone with interest in writ- ing’s present and hope for writing’s future.” –Peter Schjeldahl “Provocative in its critique and antidote, this collection invites the curious writer/reader to question all assumptions regarding generally agreed upon values of poetic language practices. -
CHARLES BERNSTEIN & HANNAH WEINER Interview for Linebreak
CHARLES BERNSTEIN & HANNAH WEINER Interview for LINEbreak I was intrigued when I discovered, in the course of seeking permission to publish this transcript, that Hannah Weiner’s 1995 conversation with Charles Bernstein for the public radio program LINEbreak had been edited down for broadcast. The show’s producer, Martín Spinelli, replied quickly to my e-mail: “[Hannah’s] recording session was one of the longest we did for the series.” The raw tape of the session is preserved in Spi- nelli’s archive at the immense UB Poetry Collection, and runs about twenty minutes longer than the broadcast version ar- chived at http://writing.upenn.edu/pennsound/x/LINEbreak. html. In keeping with the spirit of Weiner’s own impusle to let her “nonliterary” surround in, I have transcribed all the conver- sation on the tape. — Robert Dewhurst One extremely hot summer afternoon in 1995 Charles Bern- stein and I drove across Manhattan to Hannah Weiner’s clut- tered but comfortable apartment to record her for our radio series LINEbreak. Charles and I had been recording other po- ets and writers for the series and Hannah was one of last (if not the last) to be taped. This would turn out to be her last broadcast interview before her death. As I set up the recording equipment we wondered about the noise coming in from the open windows and decided to close them for better acoustics. 141 WILD ORCHIDS But even as we sweated in her airless living room the noise from the street made it through and prompted me to stop a couple of times. -
Making Speech-Matter: Recurring Mediations in Sound Poetics and Its Contemporary Practice
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output Making Speech-Matter: Recurring Mediations in Sound Poetics and its Contemporary Practice http://bbktheses.da.ulcc.ac.uk/35/ Version: Full Version Citation: Pester, Holly (2013) Making Speech-Matter: Recurring Mediations in Sound Poetics and its Contemporary Practice. PhD thesis, Birkbeck, University of London. c 2013 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email 1 Making Speech-Matter: Recurring Mediations in Sound Poetics and its Contemporary Practice Holly Pester Birkbeck, University of London PhD 2013 2 I, Holly Pester, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. ---------------------------------------------- 3 Abstract This thesis produces a critical and creative space for new forms of sound poetics. Through a reflective process combining theoretical research and poetic practice – performances, text-scores and installations – the thesis tests the contemporary terms of intermedial poetics and sound poetry, establishing a conceptual terminology for speech-matter. Beginning with a study of 1960s sound poet Henri Chopin and his relation to the tape machine, I argue that this technological mediation was based on a poetics of analogue sound hinged on bodily engagement. Social and physical properties of the tape machine contribute to a mode of practice that negotiates the body, machine, and effort. Exploring Michel Serres’s concept of parasitic noise and the relation of interference to lyric appeal, via the work of Denise Riley and Hannah Weiner, I understand sound poetics as a product of lyrically active noise. -
The Poetry Project Newsletter
THE POETRY PROJECT NEWSLETTER $5.00 #212 OCTOBER/NOVEMBER 2007 How to Be Perfect POEMS BY RON PADGETT ISBN: 978-1-56689-203-2 “Ron Padgett’s How to Be Perfect is. New Perfect.” —lyn hejinian Poetry Ripple Effect: from New and Selected Poems BY ELAINE EQUI ISBN: 978-1-56689-197-4 Coffee “[Equi’s] poems encourage readers House to see anew.” —New York Times The Marvelous Press Bones of Time: Excavations and Explanations POEMS BY BRENDA COULTAS ISBN: 978-1-56689-204-9 “This is a revelatory book.” —edward sanders COMING SOON Vertigo Poetry from POEMS BY MARTHA RONK Anne Boyer, ISBN: 978-1-56689-205-6 Linda Hogan, “Short, stunning lyrics.” —Publishers Weekly Eugen Jebeleanu, (starred review) Raymond McDaniel, A.B. Spellman, and Broken World Marjorie Welish. POEMS BY JOSEPH LEASE ISBN: 978-1-56689-198-1 “An exquisite collection!” —marjorie perloff Skirt Full of Black POEMS BY SUN YUNG SHIN ISBN: 978-1-56689-199-8 “A spirited and restless imagination at work.” Good books are brewing at —marilyn chin www.coffeehousepress.org THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #212 OCTOBER/NOVEMBER 2007 NEWSLETTER EDITOR John Coletti WELCOME BACK... DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 4 ANNOUNCEMENTS THE POETRY PROJECT LTD. STAFF ARTISTIC DIRECTOR Stacy Szymaszek PROGRAM COORDINATOR Corrine Fitzpatrick PROGRAM ASSISTANT Arlo Quint 6 WRITING WORKSHOPS MONDAY NIGHT COORDINATOR Akilah Oliver WEDNESDAY NIGHT COORDINATOR Stacy Szymaszek FRIDAY NIGHT COORDINATOR Corrine Fitzpatrick 7 REMEMBERING SEKOU SUNDIATA SOUND TECHNICIAN David Vogen BOOKKEEPER Stephen Rosenthal DEVELOpmENT CONSULTANT Stephanie Gray BOX OFFICE Courtney Frederick, Erika Recordon, Nicole Wallace 8 IN CONVERSATION INTERNS Diana Hamilton, Owen Hutchinson, Austin LaGrone, Nicole Wallace A CHAT BETWEEN BRENDA COULTAS AND AKILAH OLIVER VOLUNTEERS Jim Behrle, David Cameron, Christine Gans, HR Hegnauer, Sarah Kolbasowski, Dgls. -
Radical Dialectics in the Experimental Poetry of Berssenbrugge
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Radical dialectics in the experimental poetry of Berssenbrugge, Hejinian, Harryman, Weiner, and Scalapino Camille Martin Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Martin, Camille, "Radical dialectics in the experimental poetry of Berssenbrugge, Hejinian, Harryman, Weiner, and Scalapino" (2003). LSU Doctoral Dissertations. 926. https://digitalcommons.lsu.edu/gradschool_dissertations/926 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RADICAL DIALECTICS IN THE EXPERIMENTAL POETRY OF BERSSENBRUGGE, HEJINIAN, HARRYMAN, WEINER, AND SCALAPINO A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and A&M College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Camille Martin B.M., Louisiana State University, 1978 M.M., University of Rochester, 1980 M.F.A., University of New Orleans, 1996 May 2003 ©Copyright 2003 Camille Martin All rights reserved ii Begin with this: the world has no origin. Continue with this: not body vs. soul, but the inherent doubleness of any situation. Thus in fusion there is also abyss. Clayton Eshleman, Under World Arrest iii ACKNOWLEDGMENTS I am very grateful to my co-chairs, Professor Adelaide Russo and Professor Sharon Aronofsky Weltman, whose encouragement, guidance, and suggestions immeasurably improved this dissertation, and indeed were indispensable to the completion of the project. -
James Sherry
JAMES SHERRY SUMMARY James Sherry is the author of 10 books of poetry and prose. He is editor of Roof Books and president of the Segue Foundation, Inc. in New York City. Born in Philadelphia in 1946, Mr. Sherry graduated Reed College in 1968 with a Woodrow Wilson fellowship. In 1976 he began Roof Magazine and started Segue Foundation in 1977. He worked for several years as a freelance writer and in 1980 began working in technology for IBM and various Wall Street firms. In 2011 he joined the Occupy Alternative Bank subgroup and remains active in that group. He lives in New York City with his wife, Deborah Thomas, publisher of Extra!, the magazine of Fairness And Accuracy in Reporting (FAIR). They have one son, Ben, 21 years old. BOOKS -Four For (Buffalo, NY: Meow Press, 1995), poetry, 20pp. -Our Nuclear Heritage (Los Angeles, CA: Sun & Moon Press, 1991), prose, 262pp. -Doscapade (New York: Hot Bird 1991), poetry, 10 pp. -The Word I Like White Paint Considered (Windsor, VT: Awede Press, 1986), poetry, 20pp. -Lazy Sonnets (Hartford CT: Potes and Poets Press, 1986, originally published by Gibralter Press, 1971), poetry, 26pp. -Popular Fiction (New York, NY: ROOF Books, 1985), prose, 82pp. -Converses (Windsor, VT: Awede Press, 1983), poetry, 72pp. -Integers (New York, NY: DTW, 1980), poetry 12pp -In Case (Los Angeles, CA: Sun & Moon Press, 1980), prose, 52pp. -Part Songs (New York, NY: Segue Press, 1978), poetry, 30pp. ANTHOLOGIES: -Annual Survey of American Poetry: 1986, editorial board (Great Neck, New York, Roth Publishing, 1986), 279 pp. -Boundary 2, vol. -
Politics of Language Poetry
George Hartley on Language Poetry Page 1 of 8 Textual Politics and the Language Poets (excerpts) by George Hartley (1989) "Let us undermine the bourgeoisie." So Ron Silliman ends his contribution to "The Politics of Poetry" symposium in L=A=N=G=U=A=G=E 9/10 (October 1979). The organizing topic of that symposium was "what qualities writing has or could have that contribute to an understanding or critique of society, seen as a capitalist system." While many respondents pointed out their difficulty with the notion that writing per se has any generalizable qualities, most of the participants agreed that, in one way or another, a particular poetry at a particular time may offer a critique of bourgeois society. Specifically, what has come to be known as Language Poetry is held out to be one of the poetic modes of the present moment (in addition to certain minority, feminist, and gay poetries) which functions as such a critique. But in what ways can the following excerpt from Charles Bernstein's "Lift Plow Plates" be seen as a critique of capitalist society? For brief scratches, omits, lays away the oars (hours). Flagrant immersion besets all the best boats. Hands, hearts don't slip, solidly (sadly) departs. In what ways is this writing "'decentered', 'community controlled', taken out of the service of the capitalist project," as Bernstein himself puts it in his contribution to "The Politics of Poetry?" This book is a critical analysis of how some so-called Language Poets have answered those questions. Who are the Language poets? The answer to that question depends on how one defines the label. -
Literary Encyclopedia: Charles Bernstein
Literary Encyclopedia: Charles Bernstein Charles Bernstein (1950-) Nerys Williams, University College Dublin Poet, critic, editor, teacher. Active 1975- in USA, North America Charles Bernstein’s work as poet, critic, collaborator, educator and editor can be read as a life-long campaign to introduce and affirm poetry’s position in the public sphere. He is associated primarily with the emergence of a poetic tendency known as L=A=N=G=U=A=G=E poetry (also referred to as language writing) on the American East and West coasts during the late seventies. With poet Bruce Andrews he co-founded and co-edited the journal L=A=N=G=U=A=G=E in New York, which ran from 1978-1981. Early language writing can be characterised as a poetry which frequently works in terms of diminished reference, questioning language’s unequivocal claim as a finite medium of representation. The disruption of syntax, narrative and the foregrounding of language’s generative properties through its slippages, puns and word play serves to create a poetry of intense linguistic opacity. The writing was predicated on the belief that the divergence of poetic language from customary discourse marked out the ground for political agency. Bernstein’s familiar comment that language must be seen as not accompanying but constituting the world (Bernstein 1986, 62) has become axiomatic for understanding the original tenets of language writing. It is important to note that the tendency established continuities with a distinct lineage of literary avant-garde and experimental as well as theoretical precedents. As Bernstein stresses in an early essay, language writing would appear to be Janus-like, establishing a dialogic engagement with a past and an immediate future: I am sufficiently skeptical of the presumption of advance in avant-garde to equally distrust formulations that appear to pit the new against tradition. -
1 Introduction. Avant-Garde Journalism
Introduction. Avant-Garde Journalism: Hannah Weiner’s Early and Clairvoyant Journals “Typing to you a thoug[h]t is seen cartridge script machine.” ―Hannah Weiner, letter to Bernadette Mayer, April 19, 1975 It is an extremely rare thing in any field to invent a new form. Invention, as such, momentarily collapses the frontier between theory and practice. This is why it not only invariably widens the scope of that field’s potential acheivements, but it appears to us, in hindsight, as an event, a phenomenon, a content through which to bring the overall form of that field into historical relief. Although largely unknown and practically unread, Hannah Weiner accomplished such an invention. She called it “large-sheet poetry” – I call it “avant-garde journalism.” With the publication of Weiner’s major works of the 1970s, we come a long way toward filling in the missing links between the so-called “New York School” and “Language Writing,” while we witness another literary-critical incursion: the mingling demands of a formalist and phenomenological approach indicative of the larger “radical modernist” tradition in USAmerican poetry. This tradition accounts for the ascedence of the anomalies, the formative strangeness, of our most vibrant tradition, stemming from Ralph Waldo Emerson and Gertrude Stein’s radical narrative theories, through the intermedial arts of Jackson Mac Low, John Cage, and later in the auto-ethnography of Theresa Hak Kyung Cha and Nathaniel Mackey. No lesser figure than Bruce Andrews has described the publishing environment for his own, formative work of the early 1970s as split between a “radical formalist fringe” and “performance kind of things” (6-7). -
Catalog 2015 Kenning Editions Kenningeditions.Com Ordinance
Catalog 2015 Kenning Editions Kenningeditions.com Ordinance 2015-2016 Ordinance, a critical series, issues nonfiction writing in the areas of contemporary poetics, philosophy, politics, and technology. Ordinance as in coordination, ordinal points, and incendiary potential. Ordinance offers essays and other texts with greater stamina than yesterday’s feed. Each chapbook in the series is handmade, perfect bound, and portable. The Ordinance series is available by subscription ($35.00 for all). Individual titles may be purchased ($7.00) and free PDF downloads will be available at Kenningeditions.com Ordinance authors include Daniel Borzutsky, Julietta Cheung, Andrew Durbin, Daniel Spangler, and Cassandra Troyan. More to come. Check the website for updates to the ongoing list, and to subscribe. Tarnac, a preparatory act BY Jean-Marie Gleize ISBN: 9780984647538 2014 Edited and translated by Joshua Clover with Abigail Lang and Bonnie Roy. Jean-Marie Gleize was born in Paris in 1946. He was thus of an age to be a Maoist and militant in 1968, identifications he retains to this day. He published his first book (on Francis Ponge) in 1981, and became a professor at l’Université d’Aix-en-Provence as well as at the prestigious l’École normale supérieure de Lyon where he would direct the Centre d’études poétiques from 1999-2009. In addition to his scholarly work on modern and contemporary French, Arabic, and American poetry, he would enter the first rank of French poets (or “post-poets,” as is sometimes said), aesthetically affiliated with peers such as Emmanuel Hocquard, Anne-Marie Albiach, and Claude Royet-Journoud. Gleize has published over twenty books in France. -
Rare Periodicals Winter 2017/2018 RARE PERIODICALS RARE
We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES Please ask for our Catalogues and come to visit us at: rare PERIODIcAlS http://antiq.benjamins.com wINTER 2017/2018 RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 298 Underground and Counterculture and much more Catalogue No. 298 (2017/2018) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM CONDITIONS OF SALE 1. Prices in this catalogue are indicated in EUR. Payment and billing in US-dollars to the Euro equivalent is possible. 2. All prices are strictly net. For sales and delivery within the European Union, VAT will be charged unless a VAT number is supplied with the order. Libraries within the European Community are therefore requested to supply their VAT-ID number when ordering, in which case we can issue the invoice at zero-rate. For sales outside the European Community the sales-tax (VAT) will not be applicable (zero-rate). 3. The cost of shipment and insurance is additional. 4. Delivery according to the Trade Conditions of the NVvA (Antiquarian Booksellers Association of The Netherlands), Amsterdam, depot nr. 212/1982. All goods supplied will remain our property until full payment has been received. -
Henry Hills Interview in VLAK
HENRY HILLS INTERVIEW LA: I’m interested in the relationship between editing and constant problem solving and questioning at every step subject matter in your films. In Radio Adios (1982) and along the way. when I look at my own films, which I Money (1985), and also Plagiarism (1981)—in which you always do if I am present at a screening, I feel a strong work with New York poets, dancers, musicians including sense of physical comfort. This is because the rhythms John Zorn, Diane Ward, Sally Silvers, Ron Silliman, are mine, the rhythms of my body and mind. I think my James sherry, Abigail Child, Charles Bernstein, Bruce films are very physical in that sense. I hone them in the Andrews, Hannah Weiner, Jackson Mac Low—there is a editing until the rhythms are perfect and I can tell when highly kinetic use of cut-up techniques that is structured this is because I finally relax.s o it’s especially gratifying by certain cadences or tempos that emerge from within when the audience is with me. Though this is a dynamic the montage. Particularly in Money there is a type of I think which operates below the surface. dialogue with Sally Silvers’ choreography and Zorn’s Not that the surface is inessential. I don’t want to music, with the rapid “turnover” of images echoing the discount the documentary function of film, for instance, idea of commodity, monetary flow, etc. to what extent which not only is unavoidable and totally manifest at every would you say that the film was an act of collaboration, point, but is also that quality which avoids abstraction.