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Ideas, 9 | Printemps / Été 2017 Cultural Imperialism Or Dialogue on Equal Terms? International Publications O
IdeAs Idées d'Amériques 9 | Printemps / Été 2017 Poètes et éditeurs : diffuser la poésie d'avant-garde américaine (depuis 1945) Cultural imperialism or dialogue on equal terms? International publications of innovative American poetry Impérialisme culturel ou dialogue entre égaux ? La publication internationale de la poésie nord-américaine expérimentale ¿Imperialismo cultural o diálogo entre iguales? Publicaciones internacionales de poesía estadounidense innovadora Manuel Brito Édition électronique URL : http://journals.openedition.org/ideas/2054 DOI : 10.4000/ideas.2054 ISSN : 1950-5701 Éditeur Institut des Amériques Référence électronique Manuel Brito, « Cultural imperialism or dialogue on equal terms? International publications of innovative American poetry », IdeAs [En ligne], 9 | Printemps / Été 2017, mis en ligne le 18 juillet 2017, consulté le 21 avril 2019. URL : http://journals.openedition.org/ideas/2054 ; DOI : 10.4000/ideas.2054 Ce document a été généré automatiquement le 21 avril 2019. IdeAs – Idées d’Amériques est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Cultural imperialism or dialogue on equal terms? International publications o... 1 Cultural imperialism or dialogue on equal terms? International publications of innovative American poetry Impérialisme culturel ou dialogue entre égaux ? La publication internationale de la poésie nord-américaine expérimentale ¿Imperialismo cultural o diálogo entre iguales? Publicaciones internacionales de poesía estadounidense innovadora Manuel Brito Many thanks to the Spanish Ministry of Science and Innovation for its ongoing support of the Project (FFI 2009 10786) from which this essay comes. I also appreciate the IdeAs reviewers’ recommendations, which have definitely improved this essay. Introduction 1 It is true that the simple question “what is language?” has grounded most of the American poetic avant-garde since 1970. -
235-Newsletter.Pdf
The Poetry Project Newsletter Editor: Paul Foster Johnson Design: Lewis Rawlings Distribution: Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710 The Poetry Project, Ltd. Staff Artistic Director: Stacy Szymaszek Program Coordinator: Arlo Quint Program Assistant: Nicole Wallace Monday Night Coordinator: Simone White Monday Night Talk Series Coordinator: Corrine Fitzpatrick Wednesday Night Coordinator: Stacy Szymaszek Friday Night Coordinator: Matt Longabucco Sound Technician: David Vogen Videographer: Andrea Cruz Bookkeeper: Lezlie Hall Archivist: Will Edmiston Box Office: Aria Boutet, Courtney Frederick, Gabriella Mattis Interns/Volunteers: Mel Elberg, Phoebe Lifton, Jasmine An, Davy Knittle, Olivia Grayson, Catherine Vail, Kate Nichols, Jim Behrle, Douglas Rothschild Volunteer Development Committee Members: Stephanie Gray, Susan Landers Board of Directors: Gillian McCain (President), John S. Hall (Vice-President), Jonathan Morrill (Treasurer), Jo Ann Wasserman (Secretary), Carol Overby, Camille Rankine, Kimberly Lyons, Todd Colby, Ted Greenwald, Erica Hunt, Elinor Nauen, Evelyn Reilly and Edwin Torres Friends Committee: Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Steve Hamilton, Bob Holman, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Patricia Spears Jones, Eileen Myles, Greg Masters, Ron Padgett, Paul Slovak, Michel de Konkoly Thege, Anne Waldman, Hal Willner, John Yau Funders: The Poetry Project’s programs and publications are made possible, in part, with public funds from The National Endowment for the Arts. The Poetry Project’s programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Poetry Project’s programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. -
LANGUAGE POETRY Entry for the Greenwood Encyclopedia of American Poetry (2005)
Craig Dworkin: LANGUAGE POETRY Entry for The Greenwood Encyclopedia of American Poetry (2005) The discrepancy between the number of people who hold an opinion about Language Poetry and those who have actually read Language Poetry is perhaps greater than for any other literary phenomenon of the later twentieth century. For just one concrete indicator of this gap, a primer on "The Poetry Pantheon" in The New York Times Magazine (19 February, 1995) listed Paul Hoover, Ann Lauterbach, and Leslie Scalapino as the most representative “Language Poets” — a curious choice given that neither Hoover nor Lauterbach appears in any of the defining publications of Language Poetry, and that Scalapino, though certainly associated with Language Poetry, was hardly a central figure. Indeed, only a quarter-century after the phrase was first used, it has often come to serve as an umbrella term for any kind of self-consciously "postmodern" poetry or to mean no more than some vaguely imagined stylistic characteristics — parataxis, dryly apodictic abstractions, elliptical modes of disjunction — even when they appear in works that would actually seem to be fundamentally opposed to the radical poetics that had originally given such notoriety to the name “Language Poetry” in the first place. The term "language poetry" may have first been used by Bruce Andrews, in correspondence from the early 1970s, to distinguish poets such as Vito Hannibal Acconci, Carl Andre, Clark Coolidge, and Jackson Mac Low, whose writing challenged the vatic aspirations of “deep image” poetry. In the tradition of Gertrude Stein and Louis Zukofksy, such poetry found precedents in only the most anomalous contemporary writing, such as John Ashbery's The Tennis Court Oath, Aram Saroyan's Cofee Coffe, Joseph Ceravolo's Fits of Dawn, or Jack Kerouac's Old Angel Midnight. -
The Matrix of Poetry: James Schuyler's Diary
Polish Journal for American Studies Yearbook of the Polish Association for American Studies and the Institute of EnglishVol. 11 (Autumn Studie 2017)s, University of Warsaw Vol. 8 (2014) Special Issue Technical Innovation in North American Poetry: Form, Aesthetics, Politics Edited by Kacper Bartczak and Małgorzata Myk AMERICAN STUDIES CENTER UNIVERSITY OF WARSAW INSTITUTE OF ENGLISH STUDIES UNIVERSITY OF WARSAW Polish Journal for American Studies Yearbook of the Polish Association for American Studies Vol. 11 (Autumn 2017) Special Issue Technical Innovation in North American Poetry: Form, Aesthetics, Politics Edited by Kacper Bartczak and Małgorzata Myk Warsaw 2017 MANAGING EDITOR Marek Paryż EDITORIAL BOARD Izabella Kimak, Mirosław Miernik, Jacek Partyka, Paweł Stachura ADVISORY BOARD Andrzej Dakowski, Jerzy Durczak, Joanna Durczak, Andrew S. Gross, Andrea O’Reilly Herrera, Jerzy Kutnik, John R. Leo, Zbigniew Lewicki, Eliud Martínez, Elżbieta Oleksy, Agata Preis-Smith, Tadeusz Rachwał, Agnieszka Salska, Tadeusz Sławek, Marek Wilczyński REVIEWER Paulina Ambroży TYPESETTING AND GRAPHIC DESIGN Miłosz Mierzyński COVER IMAGE Jerzy Durczak, “Bluescape” from the series “New York City.” By permission. https://www.flickr.com/photos/jurek_durczak/ ISSN 1733–9154 Publisher Polish Association for American Studies Al. Niepodległości 22 02–653 Warsaw www.paas.org.pl Nakład: 140 egz. Printed by Sowa – Druk na życzenie phone: +48 22 431 81 40; www.sowadruk.pl Table of Contents Kacper Bartczak and Małgorzata Myk From the Editors ......................................................................................................... 271 Joanna Orska Transition-Translation: Andrzej Sosnowski’s Translation of Three Poems by John Ashbery ......................................................................................................... 275 Mikołaj Wiśniewski The Matrix of Poetry: James Schuyler’s Diary ...................................................... 295 Tadeusz Pióro Autobiography and the Politics and Aesthetics of Language Writing ............... -
The Necessary Experience of Error
The Necessary Experience of Error By Carla Billitteri Delirium, Hybridity, Error Carla Harryman’s work has been found “intelligent, sardonic, and elliptical to the point of delirium,” and to this list I would add picaresque and joyful (Ziolkowski n.p.). For “delirium” in its root meaning is “to go out of the furrow,” an act of wandering, of digressing, of going astray and going wrong, and one can tell from the frequency with which Harryman uses the word “delight” (etymologically, “to lure away,” to allure) that she takes joy in such delirium, in acts of writing that willingly depart from the furrows of the ordinary, the expected, the normative. Delirium manifests itself as continuous, restless movement, and it is only fitting that three of Harryman’s most recent works (The Words, Gardener of Stars, and Baby) are picaresque tales of textual errancy suffused with the delight of moving across categorical boundaries, whether of gender, space, time, or human embodiment. These movements are affirmed or reinforced compositionally by Harryman’s penchant for continuous migrations across boundaries of literary genres. Shifting swiftly and artfully from prose to poetry, from poetry to fable, from fable to drama, from drama to critical commentary, Harryman’s works are hybrid texts in Bakhtin’s sense, not fusions of genres in which new forms are created and in which old forms are changed beyond recognizability, but heterogeneous mixtures “belonging simultaneously to two or more systems” (Bakhtin 429). Through her particular approach to hybridity, Harryman demonstrates that her delight in the picaresque experience of textual errancy is not simply a crossing of genres, but of cognitive boundaries, for each literary genre defines and can in turn be defined as a 1 delineation of cognitive expectations. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy sutimitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorged copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9* black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMÏ EIHETORICAL HYBRIDITY: ASHBERY, BERNSTEIN AND THE POETICS OF CITAHON DISSERTATION Presented in. Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy m the Graduate School o f The Ohio State University By \fatthew Richardson^ hlA . ***** The Ohio State Unwersity 2001 Dissertation Committee: Approved by Professor Jon Erickson. Adviser Professor Jessica Prinz . -
PUBLIC FOUNDATION GREATER Educational Resource DES MOINES ART TEMPLE CHESS & POETRY GARDEN by SIA ARMAJANI
PUBLIC FOUNDATION GREATER Educational Resource DES MOINES ART TEMPLE CHESS & POETRY GARDEN BY SIA ARMAJANI ABOUT THE ART AND THE ARTIST Dedicated in May 2016, this installation was a gift to the people of Des Moines by the family of Bennett Webster, an attorney who died in 2002 and who was a devotee of the game of chess. Chess is a game of deliberation, thoughtful planning, and strategy in which the two players anticipate one another’s moves and are constantly interacting with each other. Temple Chess and Poetry provides a space for both social engagement and contemplation. It is composed of multiple parts: three chess tables, a larger table for gathering around, benches, and a small garden in whose iron fence are embedded lines of poetry by Language poet Barrett Watten (b.1948), a friend of the artist. Enjoy simply sitting here quietly, talking with a friend, or bring your own chess pieces for playing the game in the thoughtful aura created by this work of public art. It is installed in an intimate space between two major buildings in downtown Des Moines: the Temple for the Performing Arts (thus, the “Temple” portion of the title) and the Des Moines Public Library. The artist highly esteems libraries as an important — and free — source of information necessary for the proper functioning of a democracy. Siah Armajani (b.1939) specializes in installations that have a strong architectural component, but with a twist: they require the viewer to become a participant. In fact, he does not consider them complete until viewers become participants and “activate” the work of art. -
A Grammar Will Alexander On
W I T Z A J o u r n a l o f C o n t e m p o r a r y P o e t i c s SPRING 1999 Guy Bennett on the Visual in Poetry “At its most minimal, the visual poem has as both its point of departure and final destination the letter shape, though it is rare that a poem consists of a single sign. More often than not, multiple instances of a given letter are assembled into an abstract composition that plays on the graphic structure of the letter form…” Loss Pequeño Glazier: Grep: A Grammar “Grep is a powerful computer command though one that is used mostly for file maintenance. Of interest here are other uses of grep, especially its use as a writing method; a concept that would probably leave a lot of unix programmers scratching their cpus…” Michael Basinski on Robert Grenier Will Alexander on the Possibilities of Poetry Workshops W I T Z VOLUME SEVEN NUMBER 1 SPRING 1999 contents Concerning the Visual in Poetry by Guy Bennett 5 Grep: A Grammar by Loss Pequeño Glazier 19 A Small Balletic Hive by Will Alexander 28 Robert Grenier's Opems by Michael Basinski 32 Publications Received 36 Edited by Christopher Reiner This is the online version of Witz 7.2, Spring 1999. It is intended for use only by the person who downloaded it from http://www.litpress.com/witz Reproducing, copying or otherwise distributing this document is forbidden without the written permission of the editor (address on page 4). -
In Early March 1981, Lyn Sent a Letter to Barrett, Bob, Charles Bernstein, Ron, and Steve, Proposing That Each Would Write A
In early March 1981, Lyn sent a letter to Barrett, Bob, Charles Bernstein, Ron, and Steve, proposing that each would write a page on a topic that she named, the whole to serve as an introduction to a selection of Language writings in French translation that would appear in Change magazine, as part of the March 1982 issue focused on “L’espace amérique,” edited (with an additional introduction) by Nanos Valaoritis. In 1989, our same six-person introduction was retranslated into Serbian and published in an issue of Delo, in Yugoslavia. Here is the six-person introduction. Ron Silliman, Barrett Watten, Steve Benson, Lyn Hejinian, Charles Bernstein, Bob Perelman Begun in the sixties, the writing of the American poets gathered here for Change matured into an organized, ongoing literary discourse in the following decade, a period of significant transition for the United States. From the perspective of capital, the war in Indochina was lost, a critical blow to national military prestige. More importantly, 1974 marked the end of capital’s longest “boom,” the expansionist years following the Second World War (on top of which the essential optimism of every variety of “New American” poetry had been constructed). Simultaneously, the largest generation in U.S. history, the “baby boom” of the 40’s and early 50’s, passed from college to the daily practices of material life. Tied to that generation and crippled from the beginning by its rejection of historical knowledge, the American New Left rapidly dissolved, although several of its veterans were to re-emerge as leaders of cross-class movements based on forms of personal oppression, as women or as gays of either sex. -
Poetry and Performance: Listening to a Multi-Vocal Canada
0Poetry and Performance: Listening to a Multi-Vocal Canada by Katherine Marikaan McLeod A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English, University of Toronto © Copyright by Katherine Marikaan McLeod (2010) ii Poetry and Performance: Listening to a Multi-Vocal Canada Doctor of Philosophy (2010) Katherine Marikaan McLeod Graduate Department of English, University of Toronto 1Abstract Performances of poetry constitute significant cultural and literary events that challenge the representational limits and possibilities of transposing written words into live and recorded media. However, there has not been a comprehensive study of Canadian poetry that focuses specifically on performance. This dissertation undertakes a theorizing of performance that foregrounds mediation, audience, and presence (both readerly and writerly). The complex methodology combines theoretical approaches to reading (Linda Hutcheon on adaptation, Wolfgang Iser on the reader, and Roland Barthes on the materiality of writing) with poetics as theorized by Canadian poets (namely bpNichol, Steve McCaffery, Jan Zwicky, Robert Bringhurst) in order to argue that performances of poetry are responsive exchanges between performers and audiences. Importantly, the dissertation argues that performances of poetry call for a re-evaluation of reading as listening, thereby altering the interaction between audience and performance from passive to participatory. Arranged in four chapters, the dissertation examines a range of Canadian poets and performances: The Four Horsemen (Rafael Barreto-Rivera, Paul Dutton, Steve McCaffery, and bpNichol), dance adaptations of Michael Ondaatje’s poems, George Elliott Clarke’s poetic libretti, and Robert Bringhurst’s polyphonic poetry. Following the Introduction’s iii outlining of the term performance, Chapter One examines processes of recording and adapting avant-garde sound poetry, specifically in the sound and written poetry of Nichol and McCaffery. -
Eating the Colors Final Text.Indd
Eating The Colors Of A Lineup Of Words Eating The Colors Of A Lineup Of Words THE EARLY BOOKS OF BERNADETTE MAYER Bernadette Mayer Station Hill of Barrytown Copyright 2015 Bernadette Mayer All rights reserved. Except for short passages for purposes of review, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. Published by Station Hill Press, Inc., 120 Station Hill Road, Barrytown, NY 12507, as a project of the Institute for Publishing Arts, Inc., , a not-for-profit, tax-exempt organization [501(c)(3)]. Online catalogue: www.stationhill.org e-mail: [email protected] This publication is supported in part by grants from the New York State Council on the Arts, a state agency. Interior and cover design by Susan Quasha. Cover illustration by Rosemarie Mayer. The author and Station Hill thank the following whose financial contributions in part made this pub- lication possible: Steve Clay, Danika Dinsmore, Editrice Nineteen-Thirteen, Elizabeth T. Gray, Whit Griffin, Matthew Kapstein, Greg Masters, Stan Mir & Carolina Maugeri, Lawrence Schwartzwald, Anna Vogt and Anne Waldman. Station Hill thanks the following for their invaluable assistance at various stages of this publication: Monica Speranza, Adrianne Kirk, Mariel Norris, Phillip Good, Kim Dinh Pham, Rachel Parker, Nick Binnette and Vladimir Nahitchevansky. Library of Congress Cataloging-in-Publication Data Mayer, Bernadette. [Poems. Selections] Eating the colors of a lineup of words : the early books of Bernadette Mayer / Bernadette Mayer. pages cm ISBN 978-1-58177-135-0 I. -
Ron Silliman Papers
http://oac.cdlib.org/findaid/ark:/13030/tf696nb4f8 No online items Ron Silliman Papers Finding aid prepared by Special Collections & Archives Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 858-534-2533 [email protected] Copyright 2005 Ron Silliman Papers MSS 0075 1 Descriptive Summary Title: Ron Silliman Papers Identifier/Call Number: MSS 0075 Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 Languages: English Physical Description: 10.4 Linear feet(26 archives boxes) Date (inclusive): 1965-1988 Abstract: Papers of Ron Silliman, American writer and editor. Silliman has lived in the San Francisco Bay Area most of his life and is associated with the Language school of contemporary writers. He edited the anthology In The American Tree, published in 1986. The papers include extensive correspondence with many prominent contemporary writers, including Rae Armantrout, Charles Bernstein, Michael Davidson, Lyn Hejinian, Douglas Messerli, John Taggart, and Hanna Weiner. Also included are drafts of Silliman's published works, notebooks, and materials relating to In the American Tree. The collection is divided into five series: 1) ORIGINAL FINDING AID, 2) CORRESPONDENCE, 3) WRITINGS, 4) IN THE AMERICAN TREE and 5) ORIGINALS OF PRESERVATION PHOTOCOPIES. Creator: Silliman, Ronald, 1946- Scope and Content of Collection The Ron Silliman papers contain collected correspondence and writings related to Silliman's career as a writer. The materials cover a range from the mid-1960s to 1988, excluding his most recent publication WHAT (1988). The collection is divided into five series: 1) ORIGINAL FINDING AID, 2) CORRESPONDENCE, 3) WRITINGS, 4) IN THE AMERICAN TREE and 5) ORIGINALS OF PRESERVATION PHOTOCOPIES.