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Hannah Weiner Papers
http://oac.cdlib.org/findaid/ark:/13030/kt5g500434 Online items available Hannah Weiner Papers Special Collections & Archives Special Collections & Archives, UC San Diego Copyright 2005 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html Hannah Weiner Papers MSS 0504 1 Descriptive Summary Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 Languages: English Title: Hannah Weiner Papers Creator: Weiner, Hannah Identifier/Call Number: MSS 0504 Physical Description: 6.5 Linear Feet(16 archives boxes, 1 card file box and 3 oversize folders) Date (inclusive): 1946-2002 Abstract: Papers of Hannah Weiner (1928-1997), a New York City poet and significant member of the "language-centered" group of writers. The papers, covering the years 1946-2002, contain notebooks, typescripts of poems, prose works, typed transcriptions of notebooks, audiorecordings, and miscellaneous materials. Included are materials for Clairvoyant Journals 1974: March - June Retreat (1978), Code Poems: From the International Code of Signals for the Use of All (1982), The Fast (1992), The Magritte Poems (1970), and Spoke (1984). Scope and Content of Collection The Hannah Weiner Papers contain notebooks (1971-1979, 1984, 1990-1992, and 1997) and typed transcriptions from the notebooks which provided the basis for several of her books. Also included are significant unpublished materials in both notebook and manuscript form, typescripts of poems and prose works, cassette audiorecordings of several poetry readings, and a small amount of miscellaneous material. The bulk of the collection dates between 1971 and 1979 with some documentation of the early 1990s and the year prior to Weiner's death. -
Poetry Project Newsletter
THE POETRY PROJECT NEWSLETTER www.poetryproject.org APR/MAY 10 #223 LETTERS & ANNOUNCEMENTS FEATURE PERFORMANCE REVIEWS KARINNE KEITHLEY & SARA JANE STONER REVIEW LEAR JAMES COPELAND REVIEWS A THOUGHT ABOUT RAYA BRENDA COULTAS REVIEWS RED NOIR KEN L. WALKER INTERVIEWS CECILIA VICUÑA POEMS DEANNA FERGUSON CALENDAR BRANDON BROWN REVIEWS AARON KUNIN, LAUREN RUSSELL, JOSEPH MASSEY & LAUREN LEVIN TIM PETERSON REVIEWS JENNIFER MOXLEY DAVID PERRY REVIEWS STEVE CAREY JULIAN BROLASKI REVIEWS NATHANAËL (NATHALIE) STEPHENS BILL MOHR REVIEWS ALAN BERNHEIMER DOUGLAS PICCINNINI REVIEWS GRAHAM FOUST ERICA KAUFMAN REVIEWS MAGDALENA ZURAWSKI MAXWELL HELLER REVIEWS THE KENNING ANTHOLOGY OF POETS THEATER ROBERT DEWHURST REVIEWS BRUCE BOONE $5? 02 APR/MAY 10 #223 THE POETRY PROJECT NEWSLETTER NEWSLETTER EDITOR: Corina Copp DISTRIBUTION: Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 The Poetry Project, Ltd. Staff ARTISTIC DIRECTOR: Stacy Szymaszek PROGRAM COORDINATOR: Corrine Fitzpatrick PROGRAM ASSISTANT: Arlo Quint MONDAY NIGHT COORDINATOR: Dustin Williamson MONDAY NIGHT TALK SERIES COORDINATOR: Arlo Quint WEDNESDAY NIGHT COORDINATOR: Stacy Szymaszek FRIDAY NIGHT COORDINATORS: Nicole Wallace & Edward Hopely SOUND TECHNICIAN: David Vogen BOOKKEEPER: Stephen Rosenthal ARCHIVIST: Will Edmiston BOX OFFICE: Courtney Frederick, Kelly Ginger, Nicole Wallace INTERNS: Sara Akant, Jason Jiang, Nina Freeman VOLUNTEERS: Jim Behrle, Elizabeth Block, Paco Cathcart, Vanessa Garver, Erica Kaufman, Christine Kelly, Derek Kroessler, Ace McNamara, Nicholas Morrow, Christa Quint, Lauren Russell, Thomas Seeley, Logan Strenchock, Erica Wessmann, Alice Whitwham The Poetry Project Newsletter is published four times a year and mailed free of charge to members of and contributors to the Poetry Project. Subscriptions are available for $25/year domestic, $45/year international. Checks should be made payable to The Poetry Project, St. -
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. -
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. -
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. -
Parting with Description
PARTIN G WITH D ES CR IPTION Recall , for a specific examp le, the case of Sergei Iuukeiev, th e "Wo lf~ I.'·u'l1 1 ,'" as presented by Freud and elaborated by Abra ham and Torok. According to Craig Dworkin the psychologists ' explicat ions. Pankei ev's symptoma tic d ream-work co n structs a memo ry, but not o ne that is mimetic: a route permitting one tol forget l(lith total recall. Instead of following a referential logic, suc h memo Le fou est la victime de la n' hellion des mots . ries follow a log ic of the signifier. Indeed, as Freud and his successo rs have - Edmond JalXs, "je bdris rna demeure: pcernes 19H - 19S7~ explicitly argued (Freud 19 59, Lacan 1975, Abraham and To rok 1976, Derrida 1977 ). that son of unconscious structuring is itself essenria ll~ a form of wr iting. "Sirnularion witho ut refe rence dissolves the o ld connection The insubordi nation of words ... has shown that rbe theoretical between madness and illoess in order to esta blish an entirelydifferent con critique of the world of power is inseparable from a practice thai destroys il. necrion. betwee n madness and writing" (Kittler 1990, 308): a state ofwrit ing called obsession. Moreover, the psycho patho logy o f writing. as we sha ll -c-Mustapha Khayari, see, is all to the poinr in Wrding Isall Aid to Memory. As Mac Wellm an ob MUS xtc esca pu{s: prHace a un dicrionnaire siruariennisre" serves with regard to Heiinian's book: "it may go unn oticed that at the core of a ll her easy-going rumination lies the threat of madness, despa ir, suicide, and other d isso lutio ns of being " (l HP 7:20:6)." Indeed. -
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. -
Hélène Aji (Le Mans)
From Poetry & Autobiography to Poetry & “Autothanatography” by Hélène Aji (Le Mans) The project for this issue started in a questioning about the possible bridges between poetry today and Romantic poetry. How to think beyond the now consensual but also constructed oppositions that helped the Modernists define themselves against their anxiety-inducing immediate predecessors? In the line of Marjorie Perloff’s 21st-Century Modernism, one is urged to this re-reading of the 19th and of the 20th and 21st centuries. Thus comes to be examined one of the major post-Romantic assessments of Romanticism which foregrounds the centrality of self and the imperialistic posture of the individual. Constructing personal experience into collective wisdom and conferring general relevance to the self’s idiosyncrasies are some of the projects and processes underpinning the Romantic autobiographical poem from William Wordsworth’s Prelude to Walt Whitman’s Leaves of Grass. Even if such an approach can be (and has been) argued and questioned, this supremacy of the individual, and more specifically of the poetic self, finds itself brought to important consequences with Thoreau and Emerson’s ideals of ‘self-reliance’ and solitary meditation. In Transcendentalism, but not just there, assessing the self in seclusion (or even in confinement with Emily Dickinson) is paradoxically meant to lead to a better, more accurate and more lucid, understanding of the world and man’s condition. The self’s poetic autobiography would thus coincide with collective destiny and its narrative stand as an allegory for communal fate. It is precisely this presupposed osmosis between individual experience and general existential issues which lies at the origins of the Modernist ostentatious rejection of Romanticism. -
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.