PennSound Daily

Begins jokingly proclaiming, "I'll make my Ernie Gehr film," a major preoccupation of my generation in the late 70s/early 80s, & then this very raw other thing proceeds to unfold, raw because I only had enough money (a loan from Abby Child) to do 4 shoots never having done sync & using outdated film stock from Rafik & an unfamiliar, undependable camera & trying to keep everything together & everything going wrong, yet determined to make concrete the ideas I had been abstractly developing over several years with whatever I got back from the lab no matter & so abandoning all caution to open a new area, I decided who could possibly talk better than poets? Edited in Times Square.

Fans of Hill's Money (1985) will recognize many familiar techniques at play here, with rapid-fire cuts creating a dense, rhythmic collage of sights and sounds punctuated by pregnant pauses, bursts of noise, and enigmatic, orphaned fragments of speech. It would be a mistake to judge it solely in its relationship to Money, however, since the two films differ radically in scope and spirit: while the latter is an expansive survey of the city and its scenes (including poets, dancers, and musicians), the feel here is much more intimate, between the smaller cast and the more limited visual vocabulary. At the same time it's fascinating to see hallmarks of Hills' style in a raw early state, particularly given the influence of the considerable technical challenges that Hills enumerates above. You can watch Plagiarism by clicking here.

We follow up yesterday's birthday greetings by celebrating another legendary poet who a great many of us still miss dearly: Jerry Rothenberg, who would have turned 93 today.

Our PennSound author page for Rothenberg, collecting recordings from 1969 to the present, is a wonderful way to interact with the Rothenberg's considerable legacy. There's a comprehensive survey of his own diverse poetic modes, spread across numerous recordings, from album releases via S Press and Optic Nerve's Rockdrill series to myriad readings and even some of his musical collaborations. There are a number of recordings related to his editorial and translation projects, including launch readings celebrating several different volumes in the Poems for the Millennium series and milestone events for Technicians of the Sacred (both its 40th and 50th anniversaries). There are lectures, class recordings, and interviews with Rothenberg, as well as commentaries on his own work, including several PoemTalk episodes. With nearly 300 MP3s alone — counting individual tracks and complete recordings — not to mention videos, it's a fittingly encyclopedic tribute to Rothenberg's influence, as well as a useful resource for all sorts of classroom settings. Listeners will also enjoy Rothenberg's ongoing Jacket2 commentary series, "Poems and Poetics," which we were honored to host.

Pick any recording at random and you'll understand instantly why Rothenberg is so universally beloved: for someone who's published output might fill several shelves, he's truly at his best in a live environment. Having worked at PennSound for so long, I've been to a lot of poetry readings and have listened to many more beyond that, and for my money, there's no one as captivating, no voice as powerful, no poet who entertains as well as he moves us and teaches us. I cherish the three times I've seen Jerry read in person — at our own Kelly Writers House in 2008, at Xavier University here in Cincinnati in 2011, and at the University of Michigan in 2013 (all of which are available on PennSound) — and wish that I could have seen him read at least one more time.

You can read our PennSound Daily tribute to Rothenberg here, and Amish Trivedi's memories of working with Rothenberg here.

We close out this week by remembering poet, novelist, mathematician, translator, and Oulipo member Jacques Roubaud, who passed away yesterday in Paris on his 92nd birthday.

Roubaud is an encompassing author. He writes through a full spectrum of the "simple" (i.e. his poetry for children) to mind-bogglingly dense pieces underpinned by mathematical concepts incomprehensible to many left-brained creative folks. After all, the title for his first book was a mathematical symbol — graphic and discrete, yet to explain what it means would take more words than I have been allotted.

Both of these recordings can be found on our Jacques Roubaud author page. Click here to start watching.

In early 1960s South Africa, Breytenbach emerged as the leader of the Sestiger movement of young white dissidents that sought to explore the literary potential of Afrikaans while rejecting its colonial associations. As he explained to The New York Times in 1986, "I'd never reject Afrikaans as a language, but I reject it as part of the Afrikaner political identity. I no longer consider myself an Afrikaner." Breytenbach would eventually settle in France, but during a 1975 trip home to provide support to the outlaw African National Congress, he was arrested and sentenced to seven years in prison, requiring the intervention of President François Mitterrand to negotiate his release. 

We were lucky to play host to Breytenbach in December 2008, when he read at the Writers House as part of the Writers Without Borders series. His seventy-five minute reading includes the titles "A Black City," "Letter to a Butcher from Abroad," "In a Burning Sea," "Goya," and "The Way Back," among others, ending with a long Q&A session. You'll find a segmented recording of that event on PennSound's Breyten Breytenbach author page, along with his 2005 appearance on Leonard Schwartz's program Cross-Cultural Poetics, during which he discussed his essay "The Middle World" and his then latest collection, Lady One: Of Love And Other Poems. Click here to start listening.

We send our deepest sympathies to Breytenbach's family and his fans worldwide.

These remarkable clips demand and reward your attention, whether you're watching or simply listening in, the various sonic elements creating one sort of experience with their visual counterparts and a different one without. You'll find these two films here on PennSound's Julie Patton author page, which is also home to a wide variety of audio and video recordings of readings, performances, panel discussions, interviews, and more, from 1997 to the present.

In light of the truly horrifying news that the whole world woke up to this morning, I thought it best to revisit two PennSound Daily posts from Trump's first term in hopes that poetry might live up to the power embodied in William Carlos Williams' beloved dictum, "It is difficult / to get the news from poems / yet men die miserably every day / for lack / of what is found there."

Poem 

I lived in the first century of world wars.

Most mornings I would be more or less insane,

The newspapers would arrive with their careless stories,

The news would pour out of various devices

Interrupted by attempts to sell products to the unseen.

I would call my friends on other devices;

They would be more or less mad for similar reasons.

Slowly I would get to pen and paper,

Make my poems for others unseen and unborn.

In the day I would be reminded of those men and women,

Brave, setting up signals across vast distances,

Considering a nameless way of living, of almost unimagined values.

As the lights darkened, as the lights of night brightened,

We would try to imagine them, try to find each other,

To construct peace, to make love, to reconcile

Waking with sleeping, ourselves with each other,

Ourselves with ourselves. We would try by any means

To reach the limits of ourselves, to reach beyond ourselves,

To let go the means, to wake.

I lived in the first century of these wars.

She rejects definition, proving instead how genderqueer poetics is no one thing (except that it's definitely not binary). Rather than set out to rigidly delineate the term genderqueer, Peterson offers us a refreshing sense of possibility. She discusses how the editors chose trans and genderqueer as "the most inclusive umbrella terms" they could find to describe "lived identities that challenge gender norms," building bridges between rather than walls around the terminologies of identity.