W e b l o g Archive -- Charles Bernstein
 New | Authors | E-poetry | Links Alpha | Links Subj | @ Buffalo |UB Poetics EPC


Selected Archive
about one month of postings are on the main web log page
some items will be available only for that month
this archive page covers 2006
EPC Blog List

[Full Web Page Listings]

web log archive (2007)

Charles Bernstein

Portrait of Felix and Charles Bernstein by Mimi Gross, 2003

International Exchange for Poetic Invention
is a multilanguage webblog
started by Netherlands poet Ton van 't Hof & myself
with links and information on poetic invention
– our term for exploratory/ investigative/experimental/radical/ conceptual poetry.
We hope the site will serve as an international point of contact
for the exchange of information among those interested.
The site will be one of the key EPC "portals"
a set of international sites, mostly directly affiliated with the EPC,
that provide key web resources:
switchboards to contemporary poetic practice.


Girly Man
reviewed in today's Kansas City Star


"A Theory's Evolution"
my poem published in
Friday's Philadelphia Inquirer

link    |  12-31-06-pm


is pleased to announce the release of

The Complete Recordings of

William Carlos Williams

link    |  12-31-06

Bill Lavender
I of the Storm
(New Orleans: Trembling Pillow, 2006)

It’s as if a Greek chorus had found its way into the mouth an everyman in the local bar of the mind, recounting the inner life of America from the assassination of Kennedy to catastrophe of Katrina. I of the Storm is a talk poem of the long dark night of the soul. Lavender’s unrelenting colloquial yarn weaves a spell in breathlessly extended lines of vivid verse that refuse to give up, against all odds.



link    |  12-27-06

Otto Dix: Over the Top
Glitter and Doom: German Portraits from the 1920s
November 14, 2006–February 19, 2007
Metropolitan Museum of Art, New York

The Art Dealer Alfred Flechtheim, 1926

Dr. Hans Koch, 1921

To Beauty, 1922

The Otto Dix Weimar-era portraits in the show are stunning,
ideologically explosive, studies (in ways not entirely evident in the reproductions above).
The closest thing in paint to Brecht/Weill.

also at the Met

a superb show with works from the entire history of Chinese writing/calligraphy
Brush and Ink: The Chinese Art of Writing
September 2, 2006–January 21, 2007

link    |  12-26-06

I will be going to China this July for the

International Conference on the 20th-Century American Poetry
Wuhan, China, July 21-23, 2007

open call for papers has just been posted


much new work posted to
both Critical Ecologies section and book reviews


Situations: Project of the Radical Imagination
By Issue
By Author
See, for example, Stanley Aronowitz in issue 2 on why there is no Left political party in the U.S.

Contemporary Literature
Fall 2006
has the most comprehensive piece so far on Tracie Morris, by Christine Hume;
an essay on the prehistory of Susan Howe's poetry—:
"Susan Howe's Art and Poetry: 1968-1974";
Brian McHale on Peter Middleton's Distant Reading;
& Mark McMorris on Carribean poetry

link    |  12-23-06

Girly Man Rattles Chains

Rattling the Chains of American Poetry

Charles Bernstein’s unique blend of polemic, parody and just plain invention

a review of Girly Man
by David Kauffman
in this week's

Girly Man web site: poems, MP3s, notes

Upcoming Girly Man reading in New York
Jan. 16 at 6:30pm
I  will be reading and signing copies of Girly Man &

Jennifer Cho, violin
will be playing John Zorn
Cue Art Foundation
511 W. 25th
reservations required
212 206-3583


PennSound podcast #2 - Jena Osman [info]

Now back on EPC:

Jena Osman's
The Periodic Table As Assembled by Dr.Zhivago, Oculist


Tom Devaney did this season's Featured MP3 on PennSound.
He provides an essay to accompany his selections,
on the topic of death,
perfect for the Holiday Season.
Al Filreis has produced our third podcast
using the selected poems.
Devaney's Death Poems at PennSound.


Bob Holman
makes a very worthy pitch
for support for New York's Bowery Poetry Club:

We’re proud of our place in the lineage of populist art: the Yiddish theater, burlesque and vaudeville and beat and punk that gave the Bowery its name before it slid to skid row, before its current resurrection as hot new Downtown high-rent zone.
By resisting the contemporary blanding of so much of Downtown, by staying true to our roots while exploring new ways for poetry and its sister arts to find places in the daily lives of the citizenry ...
“Will poets drink enough at the bar to support their poetry habit and get the Club’s rent paid?” was the originating question of the BPC. After four years of running in the red, I think the answer is, plainly, No. Why? Because we’re the only bar in the world that asks the customer to Please shut up and listen to the poem, as opposed to Another round?.

Hear Bob Holman on PennSound.

link    |  12-21-06

Ploughshares & me:
An Interview

Douglas Messerli on Djuna Barnes via BBC

James Sherry on The Grand Piano project
preview at Jacket

Stephen Fredman: Introduction to Edward Dorn
also linked at the EPC Dorn Page,
which includes a new set of Dorn material
(thanks, again, to Jack Krick)
preview at Jacket

Romantic Circles Readings
Here are a few of the new recordings I liked:
Michael Haslam reading from John Clare's "Child Harold"
Download mp3
Peter Larkin reading William Cowper's "Yardley Oak"
Download mp3
Caroline Bergvall reading Percy Bysshe Shelley's "Mont Blanc"
(Accompanied with music by Mario Diaz de Leon, "Pervaded with that Ceaseless Motion")
Download mp3
additional info at Romantic Circles site

link    |  12-20-06

The University of Alabama Press
& the
Modern and Contemporary and Poetics series,
edited by Charles Bernstein and Hank Lazer
are pleased
to announce these upcoming events at the 2006 MLA conference in

On Thursday, Dec 28th from 5 to 6 p.m. Rachel Blau DuPlessis will be
signing copies of her books "Blue Studios" and "The Pink Guitar" at the
UA Press booth in the exhibit hall.
[book exhibit restricted to those registered for the convention]

On Saturday, December 30 at 10:00 a.m. Marjorie Perloff, President of
MLA, will be signing copies of her book "Differentials" at the UA Press
booth in the exhibit hall.

On Friday night, December 29th, the Modern and Contemporary Poetics
series will sponsor the annual off-site poetry reading
organized by Bob Perelman
at the
Philadelphia Arts Alliance, 251 South 18th Street (a half block off of
Rittenhouse Square) from 9 pm to 11 pm. Complimentary hors d'oeuvres and
a cash wine bar will be offered, along with readings by, among
others (List tentative!):

Nat Anderson
Dennis Barone
Herman Beavers
Charles Bernstein
Caroline Bergvall
Christian Bok
C. A. Conrad
Matthew Cooperman
Michael Davidson
Tom Devaney
Linh Dinh
Johanna Drucker
Patrick Durgin
Michael Tod Edgerton
Cathy Eisenhower
Eduardo Espina
Adam Fieled
Loren Goodman
Carla Harryman
William Howe
Yunte Huang
Aaron Kunin
Hank Lazer
Leevi Lehto
Walter Lew
Camille Martin
Peter Middleton
Nick Monfort
Laura Moriarty
Aldon Nielsen
Tom Orange
Jena Osman
Bob Perelman
Ethel Rackin
Joan Retallack
Linda Russo
Jennifer Scappetone
Susan Schultz
Kathy Lou Schultz
Josh Schuster
Prageeta Sharma
Frank Sherlock
Evie Shockley
Juliana Spahr
Sasha Steensen
Brian Stefans
Lamont Steptoe
Elaine Terranova
Mark Wallace
Barrett Watten
John Wilkinson
Tyrone Williams
Timothy Yu

All books in the Modern and Contemporary Poetics book series will be
available throughout the conference at a 30% discount.

We look forward to seeing you there.

Daniel Waterman
Acquisitions Editor for Humanities
The University of Alabama Press

link    |  12-20-06-MLA

Richard Tuttle
on Close Listening

photo: ©2006 Charles Bernstein/PennSound

Close Listening
readings and conversations at WPS1.Org
Clocktower Studio, New York, December 4, 2006

Program One
Tuttle reads two texts,
"Close to Art" and "Differentials and Service"
and then discusses his writing and books with Charles Bernstein.

Complete Program (27:59)

1. Close to Art (3:58)
2. Differentiation and Service (13:37)
3. Discussion with Charles Bernstein(10:12)

Program Two
Tuttle in conversation with Charles Bernstein. Tuttle talks about sound and color and the radio, about being at a loss for words, explains why beauty and the imagination have no place in art, and discusses "quietude" in American art."

Complete Program

The two Richard Tuttle programs are my 23rd and 24th shows in the
Close Listening series at WPS1.
There is a full listing with streaming links in the WPS1 archive pages.

"Close Listening" follows on the 30 LINEbreak shows I did in the mid-90s
with Martin Spinelli, which are available at PennSound
Previous shows on this series,
as well as the related "Studio 111" series, recorded at Penn
have fearured:


link    |  12-18-06

This review

appears in the December/January issue of
The Brooklyn Rail.

The Weatherwomen’s Terror

Sing a Battle Song:
Poems by Women in the Weather Underground Organization

(Factory School/Southpaw Culture, 2006;
originally published in 1975 by the Red Dragon Print Collective)

Brooklyn Rail review by Charles Bernstein

No one could miss the poetic fervor in Prairie Fire: The Politics of Revolutionary Anti-Imperialism, the Weather Underground’s 1974 manifesto (by Celia Sojourn, Jeff Jones, Bill Ayers, and Bernardine Dohrn): one part Che, one part Dos Passos, one part Molotov cocktail, one part missing (screw loose):

"Our art, music, poetry, theater will interpret and awaken the relationship of ourselves to the world forces, acting on each other. Our culture will be insurgent, celebrating people’s victories, and record the history of the struggle. We will support those who are still fighting and continue fighting ourselves. We will awaken our sense of being part of a world community.ARM THE SPIRIT!" (p.41)

Factory School’s Southpaw Culture series has reissued a book far more obscure than Prairie Fire—a collection of anonymously authored inspirational/agitprop, and sometimes feminist, poems from the same period and presumably the same (and related) folks who, though dangerously misguided, and destructive for U.S. progressive politics, still smell sweeter than those in and around the U.S. government who worked to actively, and often violently, undermine democratic governments abroad and domestic protest at home.

Despite their often poignant cries against injustice and brutality, these poems are in some ways more wooden, self-conscious, and moralistic than Prairie Fire’s occasionally soaring prose. Factory School’s provocative insistence that we (also) think of this political movement in terms of its poetry is not so much revisionist amelioration as a necessary coming to terms with the aesthetics of American radicalism. The failure of these poems is also the failure of the politics behind them, just as the failure of the politics is a failure of the poetics: the shackling of imagination to principle, the desperate need to be so clear and so accessible that nothing in particular is left to say, and an identification with the struggles of others so crushing that it fatally represses the struggles within oneself. This book provides telling evidence that you can judge a movement by its words, especially when the movement was primarily an act of rhetoric, a poem-in-action. In this respect, the Situationists, especially as their work morphed into the bumper-sticker slogans of 1968—from “We want nothing of a world in which the certainty of not dying from hunger comes in exchange for the risk of dying from boredom” to “Poetry is in the streets”—provide a powerful counter-model, as do the more recent speeches/sayings of Subcommander Marcos (of Chiapas, Mexico).

Yet, still, there is, near the end of this brief collection, “For the SLA,” a poem written in the Spring of 1974. It is the most rhetorically powerful poem in the book and a prescient deconstruction of the use of the word “terror” by spokespersons of the state who use terror of the foreign to mask the terrorizing of the state’s own people, as well as those in far-off lands. SLA, for those not of the moment or who missed the movie, is the Symbionese Liberation Army, the group that kidnapped Patty Hearst. Just think about the quality of mind among a group of U.S. Leftists who thought it was a good idea to kidnap, imprison, and brainwash an heiress. And no, this was not an episode of South Park. To come to terms with the poetics of this group, keep in mind that the Weather men and women subjected themselves, and were in turn subjected, to a profound state of terror, as if to simulate the terror so many other people in the world experience without recourse. Coming from homes of wealth and security, like a song might say, they chose lives of fear and penury. But living in such a state of terror in turn warped both their political and poetic judgments.

“For the SLA” is about a viral form of language abuse, the same viral abuse that, during the Vietnam War called burning people to death “defoliation,” or during the War against the People who live in Iraq, calls torture “interrogation.” This poem reminds us that the powers that be have appropriated the terms of our common language with a nihilistic disregard for meaning that makes what gets called postmodernism seem innocent. They have done this so often and with such sociopathic abandon that, like the boy who cried wolf, their cries of terror ring hollow even when, as now, they might refer to acute dangers requiring a full measure of response.

The 1960s-era crisis of belief in the language of authority and government, a foundational breach of the ongoing culture wars, is epitomized in this poem by the Women of the Weather Underground:

They call it terror
if you are few and have no B-52s
if you are not a head of state
with an army and police
if you have neither napalm
nor tanks nor electronic battlefields
terror is if you are dispossessed
and have only your own two hands
each other
and your rage
It is not terror
if you are New York’s Finest
and you shoot a ten-year old Black child in the back
because you think Black people
all look like
they’ve just committed a robbery
It is not terror if you are ITT
and buy the men
who line Chilean doctors up in their hospital
and shoot them for supporting the late
democratic government of their country
It is not terror but heroism
if you were captured by the Vietnamese
for dropping fragmentation bombs
on their schools and hospitals
Only those who have nothing
can be terrorists

reprinted from The Brooklyn Rail

Sing a Battle Song:  Poems by Women in the Weather Underground Organization
is included in another book  with the same title, but different subtitle, also published this Fall
Sing a Battle Song:
The Revolutionary Poetry, Statements, and Communiques of the Weather Underground 1970 – 1974,

ed. by Bernardine Dohrn, Bill Ayres, Jeff Jones
( New York: Seven Stories Press, 2006).
This collection includes Prairie Fire & other material.
The Factory School edition is a replica of just the 1975 poetry collection.

link    |  12-15-06

Pink Kid Gloves

Curated by Jinnine Pak

Susan Bee, Sarah Blackwelder, Fay Ku, Deborah Wasserman
presented by the alternative art producer
112 West 44th Street

(between 6th & 7th Aves)
December 4 - December 22, 2006
Gallery Hours are Friday through Monday noon to 6pm.

Some images of Susan Bee's paintings in the show
details from Raison D'Etre and Eden :




link    |  12-13-06


Robin Blaser reads from The Holy Forest
(UBC, 1995)
Complete Reading (36:30)
This CD comes from an issue of Collapse Magazine, published in 1996. The reading, which took place at the University of British Columbia's Frederic Wood Theatre, occurred at a conference held in honor of Robin Blaser's seventieth birthday entitled "The Recovery of the Public World, a celebration of his poetry and his poetics."

Tracie Morris at the Vision Festival with DD Jackson, New York, 1997 (55:39)

Robert Creeley's poem "So Quiet Here" set by composer David Felder, 2006 (7:35)
The work is in four sections:
1. Buffalo Evening
2. Spring Light
3. Edges
4. Goodbye

Roy Kiyooka: A Reading at the Vancouver Art Gallery, 1991
Complete Reading (34:58)
This recording was one of Kiyooka's last readings and was held in conjunction with an exhibition of his paitings in "The Flat Side of the Landscape: The Emma Lake Artists' Workshops." From the same issue of Collapse as the Blaser recording, above.

John Taggart at the Offpage series
Indiana Univerity of Pennsylvania

Anne Waldman CD
with music by Ambrose Bye
the eye of the falcon - New & Selected
with Ambrose Bye

Fall 2006 readings at Bowery Poetry Club / Segue Series (New York)

October 7, 2006

Stan Apps (35:42): MP3
Kim Rosenfield (38:00): MP3

October 14, 2006
Shanna Compton : available soon
Michael Magee: available soon

October 21, 2006
Meredith Quartermain (31:43): MP3
Peter Quartermain (34:00): MP3

October 28, 2006
Juliana Spahr (35:01): MP3
Bill Luoma (31:02): MP3

November 4, 2006
Michael Gottlieb (38:15): MP3
Rod Smith (31:11): MP3

November 11, 2006
Nick Piombino (35:10): MP3
Kimberly Lyons (33:20): MP3


My MP4 video of Wystan Curnow
posted a couple of days back
didn't work on  some players so I have replace it with one that does work.
The streaming version remains OK.


Dan Weinstein has made an
OPML (outliner processing markup language)
version of the EPC Blog list

This format is new to me; it certainly makes browsing the list easier;
it's a kind of user-friendlier rss reader.

The Artist and the Book in Japan

October 20, 2006 through February 4, 2007
Humanities and Social Sciences Library, 5th Avenue and 42nd Street
New York

Another great show from the New York Public  Library at 42nd Street. This one is a tribute to the legacy of Robert Rainwater, the recently retired curator of the Spencer Collection. Curated by Roger S. Keys.
The show chronicles the Japanese "picture book" from 764 to present.
Note: the show is in two separate exhibition spaces on the main floor.

The Sutra of the Ten Kings of Hell.
(published 1594)

Gifts of the ebb tide = The shell book.
(published 1789)

One of the highlights of this show is Aboard the ship of inspiration, (published 1767), a perhaps forty foot scroll, based on a trip taken by artist Itô Jakuchû (1716-1800) and poet Daiten Kenju on the Yado River to Kyoto. As the trip progressed, Jakuchû and Kenju each made quick improvisatory sketches. Later the poems and drawings were assembled into the scroll. The experience of reading/viewing this scroll of is of page- and mind-expanding horizontality, as one walks along the banks of the work as it unfolds. A translation of the text is provided at each point it appears in the scroll. .

Title calligraphy

Translation of poem:
"Mountains colored high and low, pale mist far off; people’s dwellings here and there, kitchen smoke nearby"

Another favorite of mine, not pictured, is by Senshôte Fukon, eight early 19th century pattern poems shaped in brocade patterns made of out of the syllables of the eight interwoven poems.

The Spencer Collection has made available extensive digital images from the show:
"More than 1,000 images encompassing 1,200 years of Japanese book art, including Buddhist sutras, painted manuscripts, portraits, landscapes, calligraphic verse, and photographic books, with related drawings and woodblock prints."

from 36 Great haikai poets
(published 1799)

link    |  12-11-06

is pleased to announce
the digital edition of

More Works
by Wystan Curnow
at Jack Books


Wystan at Penn

Wystan Curnow
Wystan had just come to town from the Creeley conference. In 1993, he had spent a semester in  Buffalo as a Poetics Program Fellow (along with Arkadii Dragomochenko, Eric Mottram, and Ernesto Livon-Grosman). I asked him about going to graduate school at Penn, where he was the first New Zealander to get a PhD in English in the U.S.
October 18, 2006
(download mp4: 45 seconds, 5.8 mb)



link    |  12-09-06

link    |  12-08-06

Susan Bee / Miriam Laufer review
Dec. 2006
Art in America

link    |  12-07-06

photo: EPC Robin Blaser author page

The Fire

Collected Essays of Robin Blaser
Edited and with a commentary by Miriam Nichols
University of California Press

Robin Blaser’s best known essay is “The Practice of Outside,” his extended introduction to the poetry of Jack Spicer that appeared in The Collected Books. This is one the key works of poetics to emerge from the New American Poetry, comparable, in its own way, to “Projective Verse” by Charles Olson, Jack Spicer’s Vancouver lectures, and Creeley’s A Quick Graph. Unlike Olson or Creeley, though, Blaser published his first essay only in 1967, after he turned 40 and after he had established himself as a poet. Indeed, the bulk of the collected essays are from after 1980; the signal exceptions being “The Fire” (1967), “Particles” (1969), and “The Stadium of the Mirror” (1974). His poetics has the advantage of its belatedness, but its belatedness is also exemplary of an aversion to the programmatic and his commitment to a space of in-between that refuses the abstract binary logic of contradiction in favor of a generative “polar logic” of nonidentity and disjunction. This could be described as the ethical basis of Blaser’s aesthetics.

There are internal reasons, aesthetic reasons, for Blaser’s aversion of canonical publication. This is the first collection of his essays and it is being published simultaneously with an expanded American edition of his collected poems, The Holy Forest, also from the University of California Press. For one thing, his work insists on elusiveness as a social investment not just a literary trope. It questions a semiotic economy of accumulation (intersecting with Baudrillard’s and Bataille’s interest in a “general economy”).

Miriam Nichols has done a supremely meticulous job as editor for both the poems and essays. She has provided a set of notes that are both useful and comprehensive: uncredited citations are documented, allusive reference are made concrete (a true labor of love given how difficult this must have been to do). Nichols’s insistence on providing these paratexts will make this edition definitive for the foreseeable future. Her introduction details the main contributions of these essays and their historical significance. Indeed, she has turned what could have been a valuable essay collection into a superb scholarly edition.

Compared to the essays by his immediate contemporaries, Blaser’s are, by design, philosophically more sophisticated. While Blaser wears his polymathy lightly – often in the form of allusive citation – he is deeply informed by, but by no means entirely in synch with, many of the poststructuralist thinkers of the 1970s and 1980s, and also with the key currents in European philosophy from phenomenology to existentialism to the Frankfurt school. At the same time his poetics is best understood as a deepening and a socializing/historicizing of the poetics of the New American poetry. There are certainly many productive differences – and productive continuities – between his work and the philosophers with whom he affiliates himself. Blaser’s essays also make more apparent the affinities with, and the differences between, the New American Poetics and the poetics of the next generation.

Blaser’s essays do not lend themselves to quotation since they come to life not so much in any given sentence or gloss but rather in a process of thinking that moves from one citation to another. He cultivated insubstantiality and evanescence in a genre better know for hyperbole and imperviousness and arrogance. Blaser comes as close as any one to having created a poetics that manifests itself as a tissue of citation rather than substantive exposition or proposition (and he surely has in mind Walter Benjamin’s idea of a text composed entirely of quotations). The result is that he practices what he preaches: his “self” is subsumed by his “great companions” and by the language through which he encounters them. His submerged voice (let’s just say, voicelessness) is exemplary in the classical sense. Blaser’s is a poetics of deep listening, introjective rather than projective.

If “The Practice of Outside” remains the defining essay on Spicer, “The Violets: Charles Olson and Alfred North Whitehead” is a crucial essay on Olson’s poetics. Using Whitehead as the avatar of a poetics of process (in a way that also calls to mind Dewey, Pierce, and Wittgenstein, but most of all Mallarmé and Blake), Blaser makes a powerful case for the limits of techno-rationality (what could also be called logocentrism) in the “Western box” (Olson’s term). Among the fundamental issues of poetics that Blaser addresses here and elsewhere is the need to think through analogy and resemblance – to think serially, in opposition to the radical epistemological limits of positivism (a recurring pole of critique throughout). Nichols’s usefully refers to Blaser’s “affective rendering of reflexivity.” Blaser questions the stable lyric expressive “I” without ever abandoning the possibility of poetic agency, through an inspired understanding of the relation of language itself, as the social, as “outside.”

link    |  12-06-06

10 & 11
from São Paulo
& in Portuguese
now available

You can order SIBILA online with a credit card
go to
Livraria Martins Fontes
then click on “COMPRAR
next to the cover of the issue you’d like

Sibila English portal

Kate Moss Sibila cover images for both issues are by Susan Bee.
Here is one of her originals:

It’s not looking great!
Régis Bonvicino

Cocaine, Kate
it’s not looking great!
a Chanel deu aquele troco em você
a Burberry um adeus! 

você precisa de uma ama-de-leite!
Desatenta, anoréxica
fumante, atéia
ateou fogo em sua carreira 

pare de incensar esses merdinhas dos Strokes
sua filha se chama Lila Grace!
você está sozinha
hoje, numa clínica do Arizona 

fora da plêiade!
as curvas de Karolina Kurkova
Diana Dondoe
devastadora, na capa da Vogue 

the myth of fashion made flesh
a beleza camaleônica de
Amber Valletta
o sutiã de diamantes de Giselle 

Tudo ruiu, Kate
vá para o inferno
ou para um mosteiro
rasgue seus cartões de crédito 

a H&M trocou você
por Mariacarla Boscono
bella ragazza sexy
do calendário da Pirelli 

que fazia boquete nos bosques
a raggazza de Givenchy e do Cavalli
agora também da Stella McCartney 

Siga, sentindo-se “drácula”!
Sua mosca cosmopolita!
Cocaine Kate,
it’s not looking great!  

It’s not looking great!

Cocaine, Kate
it’s not looking great!
Chanel bid you adieu
Burberry’s iced you! 

you need a wet nurse!
addled anorexic
atheistic nicotine maniac
your career’s gonna burst 

stop fawning that piece of shit from Strokes
your daughter’s name is Lila Grace!
you’re on your own now
doing rehab in Arizona 

your out of the Pleiades!
as curvaceous as Karolina Kurkova
Diana Dondoe
devastating, on the cover of Vogue 

the myth of fashion made flesh
chameleon beauty of
Amber Valletta
Giselle’s diamond bra 

All’s ruined, Kate
go straight to hell
or get to a nunnery
no credit cards to cover you 

H&M has passed you by
for Mariacarla Boscono
sexy bella ragazza
from the calendar of Pirelli 

who get blown in the park
so get used to it!
Givenchy’s and Cavalli’s ragazza
and don’t forget Stella McCartney’s 

So you feel like “Dracula”!
You cosmopolitan flame!
Cocaine Kate,
it’s not looking great! 

English translation:
Charles Bernstein & Maria do Carmo Zanini.

link    |  12-5-06

A Conversation with  Henry Hills

On April 4, 1985,
Henry Hills and I walked through the park
and talked and talked.
Henry was putting together his book
Making Money,
based on his film Money

from Making Money

HH: With film, when you deal with the shoots you have to deal with all the outtakes & so you have all this terrible shit that you don't ever want to see again that somehow you have to deal with a lot of times before you ever finally get rid of it. It lingers on. I still have hours of outtakes from MONEY rattling around in my head & these terrible lines & so that's why I didn't want to turn on the microphone right away. Actually it's kind of appropriate doing an interview walking just because so many ideas for the film came as I was walking & I even lots of times think of the movie as a kind of walking-type consciousness. It's kind of the way as you're walking down the street in New York so many things fragment your attention.

CB: But the movie seems more like JUMP as the song goes, than walk. Actually you could run a track of that back of what you have; it might work very well.

HH: Disco-mix.

CB: Right, MTV. I think it would work because you do have the same kind of flashing in & out, back and forth, which reminds me of jumping rope or just jumping, of course you think of 'jump-cut' obviously. Whereas a walk seems kind of a different pace than you're interested in . . . more like leaps or a hop, skip, & jump.

HH: I was thinking more of the mental pace than the physical pace. I mean walking in the park is different from walking down First Ave. or Bowery.

CB: Right, well that's true in terms of what you see, but your eye when you're walking, or at least the biological eye, whatever that might be, scans in a very different way. You might look at this & then look at that & you certainly get a break, but there's a kind of feeling of continuity of time that seems very different than what you're interested in.

HH: I see.

CB: You might go from one to another but it moves more like a pan in spirit.

HH: Or a cut to close-up or something.

CB: Yeah, that's right. But even when you close your eyes you can't create something similar to the kind of jump-cut that you're interested in. The mind seems to project continuity. It's very hard to actually create . . . that's why it's interesting to go to a film, because it forces you to be able to . . . forces you, allows you to be able to break out of the habitual projection of continuity that, it seems to me, it's hard to break out of by one's own devices, on a walk say, it's hard to create that. Sometimes you can do interesting things if you wear glasses, moving them around, twisting them & turning them just to create . . . . I do that at very boring poetry readings. I take my glasses off & try to look through them at different kind of oblique angles so I see the person's face kind of like in a funhouse mirror. Things like that might create a more visually interesting texture. But you generally have to be pretty resourceful to break out of the feeling of continuity: that's really the oppression of everyday life. That's despite the fact that Lyn Hejinian in her recent talk says that experience is discontinuous & Nick Piombino has labored with great eloquence to show the many ways in which that's true & the depth that that statement still has. Still there's an awful lot the mind does to compensate for that discontinuity. There's an incredible amount of energy the mind has in the involuntary brain, you might say, not voluntary, to create continuity out of discontinuity & it's boring. It's not an interesting experience to have all this continuity kind of thrust upon you & not be able to break out of it. So it's almost like the opposite of the normal view that the modern existence is fragmented. I think actually not at all. It's hard to actually experience things as discontinuous. I think things in fact are discontinuous & that the mind does take them in in 3 a discontinuous way---it's the kind of thing that psychoanalytically you could show---but there's an incredible amount of compensatory, automatic reflex that eliminates the ability to experience them as actual autonomous fragments---it's almost impossible. Because there's an incredible amount of anxiety of separation from things that seem . . . .

HH: In a congested situation, though, in Times Square or at a party, I think it's possible to fragment your attention, when there's lots of different voices going on & different images that you can be constantly shifting your attention from one to another.

CB: That's true, but it's almost like a light fragmentation versus a real, radical fragmentation, so that it's very easy to have kind of minor, superficial sensations of fragmentation which are in fact merely surface decoration on a continuous, on an experience which the basic thing you're producing is continuity through your conscious projection, through the projections you make & the consciousness you experience, the perception you experience, there can be these little intaglio, these little sgraffiti, that break up the surface. Sgraffiti being an artistic technique, marks made on the surface of . . . .

HH: To create texture?

CB: Or to create forms by cutting through to a differently colored ground underneath.

HH: So I interrupted the continuity of your. . . .

CB: Not at all, unfortunately not, there was simply a minor embellishment where we had this metaphor of stopping & being stopped & our walk being broken, but not real genuine fragmentation. It's just like a light mode of, uh, it's like when Sartre talks about 'petty anxiety' vs. 'real anxiety'. The kind of fragmentation that you might experience at a party with voices speaking & so on is, in my mind, analagous to 'petty anxiety', rather than the genuine anxiety of nothingness that Sartre talks about in Being and Nothingness. This is what I mean by this kind of more radical fragmentation & separation which is similar to an experience of nothingness, so that one feels broken off from something, one feels a chasm in one's own life. Grief reaction in general seems to relate to this, when there's an actual loss of an object, a person, a relationship, & coping with that is a very draining & obsessive experience of trying to search for the lost thing, person, experience in kind of a frantic going over channels in the mind, the mind's circuits in a gridlock because of that sense of loss & that of being broken off, so that seems, just as an example, the kind of experience of genuine fissure that one doesn't experience easily because there's an incredible vested interest, in terms of sanity & calm, to avoid facing that, although I think in reality you might feel it all the time, as if somehow when we walked here the ground would literally fall out from under us & we would tumble to the center of a fiery pit, which is of course what's happening but we're just simply able to screen it out so it doesn't happen. I mean happening psychically, you get a glimmer of this, y'know, I think, listening to the news & the general paratactic quality of the news that people are arrested in South Africa or 35 people are shot there, then they go to something else happening, some other disaster or Bernard Goetz buys a gun in Florida, one after another of unrelated events that have that kind of surface fragmentation that you're talking about, petty fragmentation, yet I think there's something very, something deeper when you actually tune into that every once in a while & it becomes incredibly frightening & bleak because of the synchronicity of these things going on. I mean when you think about some of these things going on that happen, unfortunately, very regularly, some of that anxiety that can be created by that & the fear & the depression that can be created when you think of what happened in Chile today or . . .

HH: Today?

CB: Just the way you said "today" but you turn it on & you hear something that merits that kind of shock, that's what I mean by the ground falling out from under you as you walk, falling in a fiery furnace, it's like a Jonathan Edwards image, but it puts you actually in more touch with whatever reality might be than the more placid idea of the solid pavement & the boats shining in the sun, not that that isn't true also, but what's true is that that's true & also this other thing is true & also things in between and other than that at the same time. That's what I think of as being this deeper sense of fragmentation or of genuine split & that I don't think is so easy to experience all the time. I think you would go mad if you experienced that.

the full conversation
has just been published
in the first issue of
an on-line magazine.

link    |  12-03-06

Festival of Contemporary Japanese Women Poets
(NY, November 15-17, 2006)

drawings by
Mimi Gross

Kyong-Mi Park

Takako Arai

link    |  11-25-06

This year's Presidential Forum at the MLA Annual Convention
organized by Marjorie Perloff,
is called "The Sound of Poetry, the Poetry of Sound."
There will be both the main forum,
three affiliated workshops and readings,
but also two dozen or so related programs,
sponsored by specific divisions, discussion groups, and allied and affiliate organizations.
Read all about it:
Sound of Poetry/Poetry of Sound
(pdf file)


Speaking of sound ...

new at PennSound

Caroline Bergvall's

These four pieces by Caroline Bergvall use the rich and entertaining setting of Chaucer’s medieval pilgrimage of The Canterbury Tales for pointed or humourous commentaries on aspects of today’s corruptions, pleasures and blindspots. The texts are written in a mix of languages and feast on a weird and ill-assorted Euro-lingo: contemporary English co-exists with French, Middle English, some lost Latin, some altogether untraceable words, while direct quotes from Chaucer interrupt the BBC and other sources.

1. Party on: "The Host’s Tale": MP4 audio, 5’06”
2. Banned in Poland: "The Summer Tale (deus hic, 1)": MP4 audio, 2’52;   text published in Jacket #31 (Oct. 06)
3. The Pope addresses women: "The Franker Tale (deus hic, 2)": MP4 audio, 5’41”  )
4. Love song: "The Not Tale (funeral)": MP4 audio, 1’32”

Invited by Charles Bernstein and David Wallace and premiered at Fifteenth Annual Conference of the New Chaucer Society, Lincoln Center, NY, 28 July 2006. Co-sponsored by Poets House.
This recording: London 22 Sept 2006.


John Reynolds
"Pretty Ugly"
text from
Let's Just Say
Girly Man

Girly Man appearances

Notre Dame

11/27, 11/28, 11/29
University of Chicago
Renaissance Soietry
11/30 & 12/1

link    |  11-22-06

David Antin
Some Questions about Modernism

David Antin's essay, "Some Questions of Modernism"
was published in Occident, from the University of California, Berkeley
in 1974.
I read the essay at the time with great interest, as did many of my friends. Xerox copies
have circulated ever since. So I am pleased to announce the
PEPC digital publication
of the essay

with thanks to David Antin for giving us permission to make this available.

Thirty years later, David and I engaged in an extended email conversation
which was published by, & is still available from,
Granary Books:

Conversation with David Antin

Meanwhile, PennSound has continued to make available
sound file of Antin's talks.
Some recent additions to our collection:

St. Mark's Talks
St. Mark's Poetry Project, November 11, 1984
"line music counterpoint disjunction and the measure of mind"
Part one (includes introduction by Bernstein) (45:44)
Part two (22:45)
Q & A (46:16)

SUNY-Buffalo, October 9, 1992
The talk was presented at the Nina Freudenheim Gallery in downtown Buffalo
MP3 (53:02)

Whitney Museum, Philip Morris, May 6, 1998
"I Never Knew What Time It Was"
MP3 (39:29)

Bowery Poetry Club
New York, September 17, 2005
Antin talks about, and reads excerpts from,
i never knew what time it was
(University of California Press, 2005):
part one (43:29)     part two (22:06)
link    |  11-21-06

Henry's Dilemma

Henry Hills
I turned the tables on Henry, who has been filming me for thirty years. He was briefly in New York, on his way back to Prague, where he has been living for the past year.
July 26, 2006
30 sec., 4mb

link    |  11-20-06

Tom Devaney's PennSound MP3 picks
for Winter 2006-2007

Kiss Me Deadly - Elizabeth Willis
Dream On - James Tate
Excerpt from I Remember, recorded GPS, February 11, 1974 - Joe Brainard
Basic Science - Fanny Howe
Praise Poem Elizabeth Murray - Bob Holman
Oh - CK Williams
Excerpt from Memorial Day (with Ted Berrigan) - Anne Waldman
Life on a Loading Dock - John Yau
The Sore Throat - Aaron Kunin
Apple - Susan Stewart
Revival - Peter Gizzi
I Am Depressed Without Your Pencil - Jennifer Moxley
To Lindsay - Allen Ginsberg


archive of PennSound MP3 picks
link    |  11-18-06

Tonight's the final event of the

Festival of Contemporary Japanese Women Poets

in New York
presented by Belladonna, Poets House, Bowery Poetry  Club, & Litmus Press.
Last night, there was delightfully energetic reading at BPC.
The five visiting poets
very much engaged with and transformed
the possibilities for poetry performance
in ways both enthralling & unfamiliar.
We expect to have some mp3s available quite soon at PennSound
at the
Factorial Archive of Japanese Poetry
which is being edited by Sawako Nakayasu.
Last night was officially a book party
for a superb collection edited, and largely translated by
Sawako Nakayasu;
Four From Japan: an Anthology of Contemporary Poetries

published by Belladonna and Litmus.

Paul Johnson  took these portraits of the poets
last night at the Bowery Poetry Club:

Kiriu Minashita

Ryoko Sekiguchi

Kyong-Mi Park

Takako Arai

Sawako Nakayasu

photos:  © 2006 Paul Johnson/EPC

link    |  11-17-06

Nathaniel Mackey
2006 National Book Award for Poetry
for Splay Anthem
New Directions

photo: ©Chris Funkhouser/EPC



Nicole Brossard
on PennSound

Segue Reading at Double Happiness in New York, May 5, 2001
Introduction (4:35)
Fleche, Songe, et Promenade (7:07)
If We Perform (1:55)
Si Ceci Est Mal (2:48)
Installations (6:27)
Le Cou de Lee Miller (3:31)

Complete Recording (27:39)

Poetic Politics
Brossard talks at The Politics of Poetic Form series at the New School (New York), on Oct. 21, 1988. The talk was published in The Politics of Poetic Form, ed. Bernstein (New York: Roof Books, 1990)

Part One (48:39)
              Part Two (54:01)

link    |  11-16-06

Mullen’s Murmur: Murder, Mayhem, Memory, Madness, Motherhood, Menace

[Laura Mullen Introduction at Futurepoem book party, Teachers & Writers Collaborative, New York, Nov. 14, 2006]

At 4 o’clock this afternoon Susan came home a handed me a package from Dan Machlin, publisher of Futurepoem books. It was a copy of Laura Mullen’s Murmur. I look forward to reading it.But I can tell you, right off, that this is a book you will want to buy. Mullen explains early on in the text:

For me, I admit right away that if I’m going to pay two dollars and fifty cents I want to make sure there’s going to be at least one murder. I always take a look at the book first to see if there’s a chapter headed ‘Finding of the Body,’ in order to …

Mullen’s Murmur may well have at least one murder, I won’t know till later; but I can tell you for sure it has that sentence.

Laura Mullen went to UC-Berkeley and then immediately after got her MFA from the Iowa Writers Workshop in 1985. Since 2004 she has been teaching at Louisiana State University, Baton Rouge; from 1994 to 2004 she taught at the University of Colorada in Ft. Collins and also, in the summer, at the Naropa Institute. Mullen’s first collection of poems, The Surface (1991), was published by the University of Illinois Press and her second collection, After I Was Dead (1999) by University of Georgia Press Contemporary Poetry Series. A third book, The Tales of Horror, from Kelsey Street Press, was published in the same year.

Mullen’s Subject, published earlier this year by the University of California Press. is a richly textured treat for ear, eye, and mind; it’s a work that I never felt I got to the bottom of: like the sea, the poems kept shifting and changing with each view.

And I like what she says about her working process in an interview, that she is “making a space large enough to recognize more than you might have recognized.”

So I spent the day pouring over the PDF of Murmur, occasionally turning to email, writing a short piece on Factory School’s Women of the Weather Underground’s Sing a Battle Song, stopping for lunch and listening to a radio interview of a guy from CIA who says well that the CIA knew the Iraqi WMA intelligence was cooked, arranging to meet Jamie Png, one of our PennSound interns, here at Teacher’s & Writers to give her the CDs of the last few weeks of the Segue/Bowery Poetry Club reading series, working on the Pound PennSound edition …

Turning back to the book, to Laura Mullen’s Murmur, I saw — as I tried to find the place I’d paused — that the words were not the words I’d remembered, and watched as they blurred into letters and then strange markings, lines, squiggles, which only faintly resembled writing. In fact the book itself was slowly dissolving — flecks of white, traces of . . . — until what I was looking at on the screen was almost nothing. Poetry noir? I thought of Olivier Cadiot’s Red, Green, and Black, which we had translated together so many years back.

I got up, walked around, came back on the screen and found the closing passage of Murmur, but then I wasn’t sure if this was Mullen’s book or if I was reading a draft of my introduction, though I didn’t remember writing it, but it seems like what I intended to say, to say that Murmur, like Subject, is a text that changes at every instant, which never ceases moving … And in this transitional space, staring at the poems that flashed on the screen as I scrolled backward, poems that I thought I already read but could not quite remember – did they change when I looked away? Or was all the change in me?

– I lighted, again, on the final passage of the book, the passage I am reading to you now, Paul Auster-like, as my introduction to Lauren Mullen.

Then, at 4 o’clock this afternoon Susan came home a handed me a package from Dan Machlin, publisher of Futurepoem books. It was a copy of Laura Mullen’s Murmur. I very much look forward to reading it.

In another interview, Mullen is asked, “What about perfection? Can you get close to the area of 'perfect'?” She replies: “No. I only keep yearning for the thing that use to happen a lot when I first started, where I would just be able to go to sleep feeling like a fucking genius. I would write very late a night so I could go to bed saying, ‘I am a genius.’ And then I would wake up in the morning and think, oh, no, I'm not a genius. But going to bed thinking I am a genius is a rush."

Let’s give Laura Mullen a rush like that as we welcome her tonight.


link    |  11-15-06

Recommended Reading

Rabaté, Jean-Michel, ed.,
Architecture Against Death / Architecture Contre Mort
a special double issue (two books: No 21/22) of
Interfaces: Image Texte Language  (Worcester, Mass. and Paris, 2003)

A collection of essays on the recent work of Arakawa & Gins (but including some discussion of Gins's two major work, Word Rain and Helen Keller or Arakawa). A useful companion to Arakawa & Gins's Architectural Body, published in the Modern and Contemporary Poetics series at the University of Alabama Press in 2002, but also a model for philosophical approaches to a work of art by an intriguing constellation of philosophers, literary scholars, and poets. I like the sense of collective research here, a "team" approach to a substantial body of art, something worth pursuing for other works.

Jesper Olsson
Alfabetes anvndning: Konkret poesi och poetisk artefaktion I svenskt 1960-tal
(Stockholm: OEI Editions)

OEI, edited by Olsson, Anders Lundberg, and Jonas (J) Magnusson has become, over the past five years, one of the most challenging and ambitious magazines published in North America or Europe. Including poems and poetics, and an impressive commitment to translation into Swedish, OEI has always given a special emphasis to conceptual and visual poetry and poetics. Olsson's The Use of Alphabets: Concrete Poetry and Poetic Artifice in the Swedish 1960s focuses on Öyvind Fahlström, Jarl Hammarberg, Åke Hodell, Bengt Emil Johnson, and Carl Frederik Reuterswãrd. Olsson adopts Fahlstörm's formulation for what's after free verse: poetry that treats language as concrete matter. He addresses the poetry from the point of view of artifice/artifact and materiality — linguistic, social, technological.

Andrew Epstein
Beautiful Enemies: Friendship and Postwar American Poetry
(New York: Oxford University Press, 2006)

Andrew Epstein offers exemplary Emersonian readings of the intricate
web connecting individual talent and collective investment in the poetry and poetics of John Ashbery, Frank O'Hara, and Amiri Baraka. Averting the Cold War myth of the individual voice in the wilderness of conformity, Epstein gives us voices in conversation and conflict, suggesting that resistance to agreement is at the heart of a pragmatist understanding of literary community.

Robin Purves and Sam Ladkin, ed.,
The Darkness Surrounds Us: American Poetry
published as special issue of
The Edinburgh Review #114

Includes Stephen Thomson on Olson; Oliver Harris on Burroughs; Malcolm Phillips on OHara, Allen Fisher on Ashbery, Creeley, O'Hara & Sorrentino; Ladkin on Dorn; John Wilkinson on Wieners; Chris Goode on Mathews, Bernstein, & Korine; and Rene Ricard, Lee Spinks on Doty, Purves on Brady & more. Cover art by Tom Raworth.

link    |  11-13-06PM

Girly Man

signing & reading

i.e. reading series
Saturday, November 18th
4 pm - 6pm
I will be reading with Rod Smith
Clayton & Co. Fine Books
317 N. Charles Street
Baltimore, MD


& then  Rod will be my host at
Bridge Street Books
7 PM on Sunday, November 19
2814 Pennsylvania Ave.
(202) 965-5200
Located in Georgetown next to the Four Seasons Hotel, 5 blocks from
the Foggy Bottom Metro station (blue & orange lines).

link    |  11-13-06

As we look back, post-election, over the past few years
it says a lot about who we are as a country
that Lynne Stewart is going to jail
on the John Ashcroft Stop the First Amendment Express

Paul Chan has made an
on-the-mark video about Stewart
in which she discusses her engagement with poetry
and reads from Ashbery, Blake, and Brecht
link    |  11-12-06

Leevi's Sampo

Leevi Lehto
Leevi and I were on the train from Helsinki to Turku (the old capital city) for the launch, at the annual Turku book fair, of my Finnish book, Runouden puolustus. Esseit ja runoja kahdelta vuosituhannelta  (A Defence of Poetry. Essays and Poems From Two Millennia)
. I asked Leevi — "What was the first Finnish poem?"
September 29, 2006
(download video: 1 min. 6 secs, 8mb)


I am pleased to announce
Leevi Lehto's EPC author page
now open for business
first 100 customers get free admission
& then the next 100
& then the next 100 ...

link    |  11-10-06-PM

Call for Papers

Susan Howe: A Celebration

The University of Sussex in conjunction with the University of
Southampton will be hosting a conference on the work of the poet Susan
Howe on June 18 and 19, 2007.  This two-day event will include a
reading by and panel discussion with the poet herself, and a
performance by the experimental musician, David Grubbs, with whom she
has recently collaborated on a series of interdisciplinary projects.

Susan Howe is a unique figure in twentieth century poetry. 
From her first career as an artist, Howe brought an
intense sensitivity to the visual dimensions of the text, producing a
diverse body of work that has continually probed the borders between
poetry and other disciplines and media.  In its unorthodox readings of
the American canon, its obsessive interest in history and what the
official narratives of history exclude, Howe’s work is unrelenting in
its capacity to surprise and stimulate us.

In this, the first conference devoted to her work, we aim to recognize
the impact Howe’s writing has had on contemporary poetics, and to
provide a focus for new critical approaches to her poetry.

We invite proposals for 20 minute papers on any aspect of Susan Howe’s
work.  Please send an abstract of no more than 250 words to both

Christina Makris <cm22 at sussex.ac.uk>
and Catherine Martinby <C.L.Martin at sussex.ac.uk>,
as well as to <howeconference at hotmail.co> by
December 8, 2006.


HOWE on the WEB:
EPC author page
PennSound page
PEPC Editons:
"These Flames and Generosities of the Heart:
Emily Dickinson and the The Illogic of Sumptuary Values"
fromThe Birth-Mark
link    |  11-10-06

Election Day 2006
Blues & Reds

The truth is hidden in a veil of tears
The scabs of the mourners grow thick with fear

the full post is now




Anthologies of Note

Stephanie Young, ed., Bay Poetics ( Newton, Mass.: Faux Press, 2006).

See also Tom Orange’s blog related to the anthology.

Steven Gould Axelrod, Camille Roman, & Thomas Travisano, eds.,
The New Anthology of American Poetry: Modernisms 1900-1950, Vol. 2,
( New Brunswick: Rutgers University Press, 2005).

This is the best traditional textbook anthology of the period, with good head notes (a rarity) and an informed selection. Not as good as the gold standard in anthologies, the two volumes from the Library of America, but it passed the road test in a class on 20th century American poetry, where I also used Paul Hoover’s Postmodern American Poetry, to cover the period after 1950. As with almost every other anthology, Axelrod et al often skipped the poem of an author that I feel it’s crucial to teach. But with a web-based syllabus, the anthology is valuable primarily as background and for supplemental readings, with much primary material available only on-line.

Jeffrey Gray , James McCorkle & Mary McAleer Balkun, eds.,
The Greenwood Encyclopedia of American Poets and Poetry
(five vols.)
(Portsmith, NH: Greenwood, 2005).
A monumental work, includes 900 alphabetically arranged entries by 350 scholars.

Lawrence Rainey, ed. Modernism: An Anthology (Malden, Mass.: Blackwell,.2005)
Anthologies have come a long way since the 60s. For example, next to Pound, Eliot, Yeats, the complete Spring and All and Tender Buttons, poetics by Jolas, Marinetti, Loy, Tzara, Duchamp, Woolf, substantial H.D. and Crane.

Mark Ford and Trevor Winkfield, eds.,
The New York Poets II: An Anthology
(Machester, UK: 2006).

Includes Edwin Denby, Barbara Guest, Kenward Elmslie, Harry Matthews, Ted Berrigan, Joseph Ceravalo, Bill Berkson, Clark Coolidge, Charles North, Ron Padgett, and Bernadette Mayer.

Jean Vengua & Mark Young, eds.,
The First Hay(Na)Ku Anthology ( St. Helena, Calif,: Meritage Press, 2005).

Form / Is One / Then Two Three. Tom Beckett: “Language is the / fabric of consciousness. /// The responsibility of / poets? To attend /// to / its woof / and weave–to /// unravel / it, even. / Paying close attention /// is, / in itself, / a political act.”

link    |  11-06-06

New York Art Walk

Another great Fred Tomaselli show
at James Cohan Gallery (through Nov. 11)
(photos don't get to what is so good about this  work)

but new to me, and stunning,
is the Nick Cave show

through Nov. 11
at Jack Shainman
(at which link some good additional images; this one's mine)

At A.I.R. Gallery, Barbara Siegel
(now closed)
had some small
text boats
(my photo):

at Friedrich Petzel
(through Dec. 23)
Allan McCollum's
obsessively compulsive
(or is it compulsive obsessive?)
realization of
millions of unique shapes
in uniform containers
(difference without differance):

(photo montage mine)

& finally

Hybrid Carnival for St. Exupéry
(gallery image from a 2005 show)  
a buoyantly engaging installation by
Brooklyn Rail editor
Phong Bui
at Wooster Arts Space
(now closed)

link    |  11-04-06-pm


New on PennSound/Classics

(archaic Greek poems put to music)
Translated & sung by
Mark Jickling and Chris Mason
We have made available four CDs:


November 15 to November 17, 2006
New York
Festival of Contemporary Japanese Women Poets


Patrick Durgin on the Buffalo Creeley conference


Ton van 't Hof reviews Girly Man for Stanza (Dutch treat)

link    |  11-04-06

Poetry and Other Englishes:
A Forum Edited by David Buuck and Juliana Spahr
boundary 2
Volume 33, Number 2, Summer 2006

David Buuck and Juliana Spahr

Lasana Sekou
   shiphole II winternights

M. NourbeSe Adams-Philip
   Zong! #25 and Zong! #26

Deborah Richards
   ASBO: there's a new one in town!

Rodrigo Toscano
   12 Riddles of Spirit, Crook in Hand

Rob MacKenzie
   Day Hoodoo

Ku`ualoha Ho`omanawanui
   Aloha Wanini: Ownin' Ain't Knowin'

Lee Tonouchi
   Diff'rent Stations

Lesego Rampolokeng
   from LIBÉTE

Benjamin Zephaniah
   Rong Radio

Myung Mi Kim
   from Penury

Erín Moure
   Lovely to Lament and The Ar't of Poetry

Emelihter Kihleng
   To Swim with Eels

Teresia Teaiwa

Ike Mboneni Muila
   This Letter
link    |  11-03-06

A montage (variations on a theme)
from Joseph Kosuth's October 2006, show at Sean Kelly Gallery in New York

a labyrinth into which I can venture (a play of works by guests and foreigners)






link    |  11-02-06

Fantasy on Nightmare on Elm Street Theme

[from Girly Man]

There is a place
not here
nor near nor far
Goes and comes
wherever you are
Don’t go don’t go don’t go

[Written to the tune of composer Charles Bernstein’s theme for
Nightmare on Elm Street]


the pleasure of your company
is requested
a book signing
& reception
Charles Bernstein's
Girly Man
(University of Chicago Press
at Eight O'Clock
in the Evening
the Eighth of November
at the
Kelly  Writers House
on the campus of
The University of Pennsylvania


who knows what evil lurks in the heart of man?
the Girly Man knows
but refuses to say

celebrate or mourn
the day after the

link    |  10-31-06-pm

Blue Tile/Azulejo

Régis Bonvicino

translated by Charles Bernstein

featured in the November issue of
Green Integer Review
along with Armantrout, Matlin, Andrade tr. Caws, Middleton, Fernandez, Toby Olson, Evenson, and Wittner


Blue Tile


My pa & mine ma
no ones




jagged shards
that, now,
by act of accumulation
I rejoin




Meu pai e minha mãe




cacos ásperos
que, agora,
num ato de acúmulo,



Parsing @ 30

G A M M M :::
an Italian poetry website
has just released
a translation by
Gherardo Bortolotti
with Alessia Folcio

of sections from Parsing
& Rimbaud's
tr. Michele Zaffarano
both on the site & as a
pdf ebook
FRASI = SENTENCES = PHRASES / Charles Bernstein ; Arthur Rimbaud


was published
30 years ago
in 1976
by Asylum's Press
cover by Susan Bee
as a very small xerox edition

has now made a facsimile of the orginal book available.

Parsing is the first section of
Republics of Reality: 1975-1995

published by Sun & Moon

link    |  10-30-06

The Taste Is What Counts

Judith Goldman, DeathStar/Rico-Chet (Oakland: O Books, 2006)

Like a Situationist armed with a search engine, Judith Goldman provides a homeopathic cure for a polis drowning in news feeds that starve instead of inform.  Listen, O, Citizens!

Myung Mi Kim, River Antes ( Buffalo: Atticus/Finch Chapbooks, 2006)
The book takes place inside a series of folds that cradle thinking that refuses containment.

Laura Mullen, Subject ( Berkeley: University of California Press, 2006)
A richly textured treat for ear, eye, and mind.

Shanxing Wang, Mad Science in the Imperial City ( New York: Futurepoem, 2005)
I am still working through this richly textured topographical map by a poet who makes poetry a synthetic first language that comes after both his (native) Chinese (Wang was born in Jinzhong, Shanxi Province) and (learned) Engineering (which was his point of entry in the the U.S., in 1991).

Nada Gordon, Are Not Our Lowing Heifers Sleeker Than Night-Swollen Mushrooms
(Brooklyn: Spuyten Duyvil, 2001)

I missed this one when it came out and it is not one to miss. It’s all in the sound.

Michael Heller, A Look at the Door with the Hinges Off (Poems from the mid-1960s).
(Loveland, Ohio : Dos Madres Press, 2006)

An intriguing and appealing collection of early work, when Heller was under the initial spell of Zukofsky and hanging out with Hannah Weiner.

Jo Ann Wasserman, The Escape ( New York: Futurepoem Books, 2003)
If speech could find a form … & utterance a measure …

Lawrence Joseph
Into It ( New York: Farrar, Straus and Giroux, 2005)

“What is seen, heard and imagined / at the same time—that truth. A sort of relationship is established / between our attention to what is furthest from us / and what deepest in us.”
Lawyerland (New York: Farrar Straus Giroux, 2004)
From the first chapter of this arresting book I thought the dialogue is the best thing since Elmore Leonard. This all-talking book is a tour-de-force of speech in and as action, with a cast of New York lawyers running on at the mouth and shooting from the hip. Plotless prose at its best.

Ted Berrigan, Collected Poems ( Berkeley: University of California Press, 2005)
Part collage, part process writing, part sprung lyric, part rant, part advice on things to do with down town (and up time), part story, part cracked, part pieced together. Threaded through all, a still astonishing mix of poignancy and aggression. Reinventing verse for its time, and then just going on nerve, these poems are redolent with both possibilities and traps for our own.

Aki Salmela, Word in Progress (Helskinki: Tuli&Savu, 2004)
This chapbook (available as a pdf at http://tuli-savu.nihil.fi/julkaisut/salmela_word_in_progress.pdf) is remarkably wild and engaging in its own right but it is also striking as a work of Finnish poetry written in English. Salmela, a (relatively) young and brilliant Helskinki poet, opens the collection with his “Ode to Ern Malley”: The umbel of markings on /the carved time / entangles staircase of rococo evening / introverted obelisk of the pond-lilies / incestuous.”

link    |  10-29-06

cover image by Francie Shaw

new from Roof
distributed by SPD

IFLIFE presents some of the wittiest, politically prescient and best American poems of this new century.
The scope of the collection is prodigious, from the war in Iraq to domestic life, from the state of literary theory
to Greek myth, from Hegel and Freud to parents and babies.
And guiding us through the torrent of cultural signs raining down on us as if with the wrath of God
is one of the most reliable voices in recent poetry. Bob Perelman,
who is sardonic and wise, makes the world more apprehendable,
if not a better place, with each passing poem.
link    |  10-28-06-PM

Robin Blaser
in stereo:

In his exquisite articulations of the flowers of associational thinking,
Robin Blaser has turned knowledge into nowledge,
the 'wild logos' of the cosmic companionship of the real.

The Holy Forest
Collected Poems of Robin Blaser
Revised and Expanded Edition.
Edited by Miriam Nichols. Foreword by Robert Creeley.
With a New Afterword by Charles Bernstein


The Fire
Collected Essays of Robin Blaser
Edited and with a commentary by Miriam Nichols

The University of California Press

Blaser EPC author page
photo of Blaser, ©2006, Mark Goldstein

   |  10-28-06


Craig Dworkin's Eclipse archive
has just made available a digital version of

I wrote about this book in response to some questions posed to me by Aryanil Mukherjee, editor of the Bengali publication Kaurab. . My essay was published this past summer in Japonchitra (Kolkata, India). Presently I am working on  an interview with Mukherjee for his magazine, as part of his effort to increase dialog between American and Bengali poets. (See, for example, Mukherjee's interviews with Mark Wallace and Lawrence Ferlinghetti.)

My first book of poetry, published in 1975, when I was 25, is called Asylums. Susan Bee and I created our own press – Asylum’s Press – for the occasion, though in this first book the press name is given on the back of the last page of the book as Asylums Press. I have always like the association of poetry with the press of asylum, though whether lunatic or a sanctuary remains an open question. Over the next couple of years, we went on to publish five other books under the imprint: Susan’s Photogram, her first artist’s book, a fantastical reinvention of the photogram, and four works of poetry – Peter Seaton’s Agreement and Ted Greenwald’s Use No Hooks; Ray DiPalma’s typewriter visual poem, Marquee, with an introduction by Steve McCaffery, and my second book, Parsing.

Asylums had a lovely presstype cover, by Susan, printed on light grey card stock, with a blank back cover. It was 48, 8½ x 11” pages, xeroxed from the (Remington) manual typewriter manuscript of the five poems included: “Asylum” (March 1975), “Lo Disfruto” (August-September, 1975), “Ipe” (March 1975) ,“Out of This Inside”(February-March, 1975) and an untitled 15-page poem that consists of a continuous progression of two-word lines, each beginning “my” (July 1974). The binding was the poetry classic of the moment: sidestaple. There is no table of contents or title page, just the typescripts of the five poems. And there is no date given for the book publication, though each of the poems is dated. I am not sure how many copies I made, probably no more than 50. There is no colophon.

The structure of this book, a constellation of markedly discrete works, is one I would come back to again and again. Each poem makes its own world, each is formally and thematically distinct from the other poems in the book – if not an asylum than a “republic of reality.” The title poem uses short clips – lines usually made up by taking the last words of a sentence and the first words of the next – from Erving Goffman’s Asylum, a book that explored social institutions cut-off from the outside world, from prisons to monasteries to psychiatric wards. This poem was also one of my first magazine publications: Ron Silliman included it in his little magazine (also xerox and sidestapled), Tottel’s in 1976. And I later included the poem in Islets/Irritations (1983), the book that is perhaps the best structurally realization of what I had in mind for Asylums. “Lo Disfruto” and a very revised version of “Out of This Inside” were included in Poetic Justice (1979), a collection of prose poems, which was subsequently included in the large collection of books published by Sun & Moon in 2000, Republics of Reality: 1975-1995. “My/my/my” was never otherwise published, though I did a multi-track tape realization of the work in 1976 that was published as a part of a collection of my audioworks called Class  (now available on PennSound).

“Ipe” is the one poem from Asylums I never subsequently published, even though it remains a kind of ur piece for me. The 13-part serial poem is closely related to Disfrutes, written in 1974 but first published in 1981, which I have just released this year in a web edition. Both could be described as quasi-minimal: the poems built on shifts and dislocations often occasioned by the change of a single letter.

I was, and am, committed to the concept of self-publishing; that writing poetry is part of a nexus of publishing poetry, reading poetry, reviewing poetry, writing poetics, teaching poetry. It was important to me not to just “privately circulate” my manuscript – which in a sense is what I was doing – but to publish it, to call it a finished work ready for the world, not waiting for someone else to legitimate. Also, publishing my own work in this way brought me directly in the economy of exchange that has been such a central experience of doing poetry and was a direct impetus to starting a reading series at the Ear Inn in New York in 1978 (with Ted Greenwald) – a series that continues on to this day, in the same Saturday afternoon time slot, though now it is at the Bowery Poetry Club; and, also in 1978 coediting, with Bruce Andrews, a magazine of poetics, L=A=N=G=U=A=G=E, also a typewriter-and-quick-copy affair (both offset printed and later Xeroxed). Jumping ahead to the mid-90s, these experience were also fundamental to the connection of the Electronic Poetry Center (writing.upenn.edu/epc), a web site on which I have worked as editor since its founding by Loss Pequeño Glazier, as well as PennSound, a vast archive of sound recordings, which is cofounded with Al Filreis in 2005.

My advise to young poets is always: start your own magazine or press, & publish your own work and those of your contemporaries whose poems seem most crucial for the art. And if possible, respond as much as possible, through poetics and reviews, to this work. Articulate its values, value its articulations. The web certainly makes such publishing easier, but it does not solve the hardest part, finding a community of other poets that allows for active and intense exchange, not based just on location or friendship or like-mindedness, but on the qualities and quiddities of the work as it unfolds in time and space, on earth and in the heavens of our imaginaries.


link    |  10-25-06

Worth a Detour

Catherine Walsh, City West (Exeter, UK: Shearsman Books, 2005)
Walsh’s fourth book extends, relays, and replays the larcenies of space, syntax and rime that made her earlier work stand out as among the very best poetry from Ireland, or anywhere in the English speaking world.

Caroline Bergvall, Fig (Cambridge, UK: Salt, 2005).
Listen to the glissade, as meaning slides into sound, sound to sense, sense to action. Working at the borders of poetry, installation, performance, and translation, Caroline Bergvall's Fig is conceptually astute and structurally shimmering. From figuration (imagine) to figure (articulate) to fig (object): a pleasure for eye, ear, mind.

Stacy Doris, Cheerleader’s Guide to the World; Council Book ( New York: Roof Books, 2006)
____ _____, Knot ( Athens: University of Georgia Press, 2006)
Doris continues to push the envelope; her work remains unexpected and not immediately assimilable. The use of football diagrams in Cheerleader’s is a great pictorial translation of the conceptual movement in the poems. Knot presents Miltonic stanzas that make syntax active word for word, culminating in a majesterial, yet determinately allusive, final section.

CAConrad, Deviant Propulsion ( Brooklyn: Soft Skull, 2006)
Includes this remarkable “father” poem, titled :

It’s True I Tell Ya
My Father Is a 50¢
Party Balloon

my father paper thin again
lost on the basement floor

but who will put their lips
to his stiff old hard-on?
who will blow him up?
who will want this
man floating
stuck in
a tree again?

link    |  10-24-06

photo: © C. Bernstein 2006

Close Listening
readings and conversations
at WPS1.Org
Clocktower Studio, New York
October 20, 2006

Robert Grenier lives in a sometime ecstatic state, but sometimes not, in Bolinas, California, where he extends the tradition of the pastoral poem in ways entirely his own. One of the most influential poets of his generation, Grenier has, over the past forty years, pushed poetry into constantly new frontiers of practice and utterance. Over the past decade, Grenier has created handwritten poems that cross the upper limit of inscription to be both writing and drawing.

Grenier in conversation with Charles Bernstein, Oct. 20, 2006 —
two programs:

program one:

Grenier discusses his development as a poet and his relation to Larry Eigner.
MP3 (26:57)

program two:
Grenier reads from and discusses Sentences
MP3 (27:34)

Also new on PennSound:
Grenier reading at the St. Mark's Poetry Project, NY, April 8th, 1981
(52:30): MP3

EPC Author Page:
Sentences is now back online
link to new Eclipse publication of Grenier's
1965 Harvard Honors thesis on William Carlos Williams
link    |  10-22-06

Archive of the Now is a major new poetry audio site
featuring the work of more than 65 UK-based poets
with many of the readings recorded especially for this site.
Includes biographical and bibliographical information on the poets.
Created by Andrea Brady at Brunel University.
We've already added it to our EPC Portals.


Two Reports on the Creeley Conference from the Poetics List

Mike Kelleher
Steve McCaffery
photos by Ben Friedlander


Mark Scroggins on the Zukofsky Selected
(from an August post on his  blog)


Heriberto Yepez
Poetry in a Time of Crisis.
Yepez, who lives in Tijuana, will be
reading at UC-Berkeley next month.


Robert Creeley
San Francisco Chronicle review of In the American Tree, ed. Ron Silliman
(new at PEPC)


Ye Olde Segue/BPC (NY) series
has a blog


link    |  10-20-06

Really Hearing Eigner
immediacy and force take priority

photo: Kit Robinson

Listen to Larry Eigner read his classic 1967 poem
& follow along with the text of the poem.
MP3 (0:29)

Again dawn

      the sky   dropped
                     its invisible whiteness

                      we saw       pass out

                            empty the blue


                       our  summer
                                           on the ground

                like last night another

                                in fragments


Now listen to Eigner's comments after reading "Again dawn."
He is responding  to a question about the poem and starts by saying he can't recall exactly what the poem meant.
I have trancribed Eigner's short response.
MP3 (0:30)

Well I forget what I meant and …
disappointed, I guess.
You know my mother said to me to communicate you must speak clear …
first of all …
though I soon realized that immediacy and force take priority.


sound clips from Jack Foley's 1994 WKPFA program with Eigner.
Full program at the Eigner PennSound page
See also Eigner's EPC Author Page

Note: Eigner's speech was impaired by the life-long cerebral palsy he developed as the result of a birth injury.

link    |  10-19-06


La política de la forma poética [The Politics of Poetic Form],
tr. Jorge Miralles, Néstor Cabrera, Nora Leylen, and Beatriz Pérez, with intro by Cabrera (La Habana: Torre de Letras, 2006).
I just received a copy of this book, which was published in an edition of 150 copies. If I can get a digital version, and the translators agree, I will put it on-line.

The Roof book
published in 1990
remains in print


R.D. Pohl on Girly Man in the Buffalo News


I posted this report on the Buffalo Creeley conference on the Poetics List:

From what I have heard, from several people who were at the Buffalo Creeley conference, the events went on, sometimes in make-shift locations, in spite of the storm and its devastation.

Over half the houses and business in the Buffalo region lost their power -- and many, perhaps as many as 200,000, were still without power as of early this evening. The schools in Buffalo and the suburbs are expected to be closed throughout the week. The storm, coming before the leaves had fallen, caused extensive damage to the trees, many of which, if not most, lost branches, which crashed into the power lines and roadways.

On Friday, the UB campus had to be closed due to the weather conditions, one of the few times the campus has ever been shut down. (The campus is about 14 miles from downtown Buffalo and on Friday the city and county declared a state of emergency, banning all but essential traffic from the roadways.) The airport lost power during the first day of the storm and was closed Friday.

As I heard the story, the conference participants made the best of it, commandeering a meeting room in their downtown hotel and carrying on as best they could. As far I know, Saturday's events took place at the church, as scheduled, since the church did have electrical power.

The hotel where the conference participants were staying did have electrical power and there were no problems with the group returning home safely on Sunday.

It was a great disappointment to me -- and many others -- not to be able to get to conference. But I think most of the scheduled speakers/readers were there & continued on as best they could --  forming a pool of light against a surrounding darkness.

For those who managed to come together on this past woe-beset Buffalo weekend, I do believe Bob Creeley was celebrated and mourned.

link    |  10-17-06 (PM)

link    |  10-17-06

Richard Foreman's new production is now in rehearsal & today he has started

a new blog.
In this first posting he provides some notes on the production and his thinking in/around/through it:

What I do in my theater is simply to layer different self contained ‘realms of being’ (image, sound, idea, or movement) over one another in ways that allow such overlapping layers to bleed through each other and create thereby, maps of new mental territory in which heightened sensibility re-energizes the internal mechanism we all share in common.

So—nothing to be afraid of or to anticipate as “hard to understand” in my plays, because one should not try to laboriously translate them into what they are not. They are NOT pictures of the “outer” world. They are NOT even pictures of the “inner” world. They simply use left over pieces of both inner and outer worlds to build a PARADISE where the mind and feelings dance as if the world were in fact—total music. (And perhaps it secretly is!)

At the end of the first entry there is a link to a 60 page pdf of further notes. Here is an excerpt:

Basically, every compositional strategy (formalist, narrative, etc) is a distortion of reality, a relative lie-- a limitation of options. Every CHOICE closes down most of the world-- (all other alternatives)

Yet a certain amount of choice, and compositional procedure cannot be avoided. (But try!) Of what remains—make the lie evident as a lie. Radical choice: Make the stage event “unconvincing”.

Then—what is one left with? Phenomenon which, as it arises, must be “tossed away”. This “tossing away” as the interesting aesthetic event. The fascinating new rhythm.

“Ah—this moment starts to be interesting?—Toss it away!” The “music” of that “toss it away”-- a kind of ecstasy, a stripping down that reveals—what? Some strange, new oscillating “thing” under all other “things”.


We humans understand, finally, only what illusionary systems we “construct” for ourselves (the social contract). We are blind to the complex “whole” that operates outside our consciousness.

The “radical space” of this performance is a “staging arena” that hovers in that “in between” space-- between projected image (the sustained archetype of blindness) and the live performance of our impulse-grounded behavioral twitches.

A Few Links:
Foreman EPC page
Foreman PennSound page
Ontological home page
Charles Bernstein in conversation with Richard Foreman (TDR, 1992)

link    |  10-16-06

link    |  10-15-06

PernSound's First Podcast
with host Al Filreis
featuring selections from the readings of
Jerome Rothenberg
MP3 (15:41)

Rothenberg Resources
EPC Page & PennSound page

link    |  10-14-06
[Rothenberg photo October 2006 by Charles Bernstein] 

Mimi on the Beach

video portrait

Mimi Gross
Mimi believes the key thing about doing portraits is the relationship you have with the subject.
A couple of years ago, she did a portrait of Felix and me.
We were at New Beach and Mimi, as always, had brought a sketchbook.
August 9, 2006
Download mp4 (40 sec., 5mb)

Mimi Gross EPC resources

The Charm of the Many (pdf), catalog for Mimi Gross's September 2002 show at Satander-O'Reilly Galleries, New York: Essay and poem by me, preface by Dominique Fourcade, full chronology/cv, plus 45 color plates.

Some of These Daze (our Granary Books collaboration)

Poetry Plastique sketches
link    |  10-13-06


Ask Gertrude

postmodern advice
avant la lettre


Cal Arts Experimental Writing Fesitival


Lara Odell has a new website of her work
which includes a clip from my performance in
Incident at Wal-Mart, or Where's My Daughter (1999)

link    |  10-12-06

Robert Creeley
Collected Poems

in two volumes
is now out from the University of California Press

There is no poetry more vivid, immediate, or telling than Robert Creeley’s. His Collected Poems extends the achievement of Dickinson, Whitman, and Williams into postwar America. Creeley’s excavation of particular words, images, and sentiments resonate beyond the pages of this book into the fabric of everyday life. This is American invention at its best, as necessary as the air we breathe and the ground we walk on.


October 12 at 6pm
is the first event in the new
Emergency Reading Series
emerging poets
at the Kelly Writers House
University of Pennsylvania
Jena Osman and Sarah Dowling


Watch and listen to Richard Foreman's newest work in rehearsal. A live video stream of
starts today (Oct. 11).
Go to Free103point9.org to watch the production
every Wednesday til opening
from 10a.m.-- 4:30p.m. (New York time)
PennSound link:
Listen to Foreman on Close Listening


CFP: bpNichol + 20 (04/01/2007; journal issue)


Deadlines: 1 December 2006 for proposals; 1 April 2007 for finished essays
Journal: Open Letter, A Canadian Journal of Writing and Theory
Guest Editor: Lori Emerson

"What often happens on the death of an author is that an institutional
group of textual custodians comes into being—scholars and editors who
present themselves as caring as passionately about that author's text
as the author once did...Much of this kind of activity...is
celebratory rather than productive or critical, even, or perhaps
especially, when it purports to offer no more than readings or
explications...Most of those interested in continuing to author Nichol
texts have been other writers.  Most of these have been writers of his
own generation, and most have been his friends.  There has been little
sign yet of scholars who hope to focus their careers on Barrie's
—Frank Davey

Open Letter is seeking essays for a special issue dedicated to "bp
Nichol + 20".  As a follow-up to the 1998 issue of Open Letter
"bpNichol + 10," we hope to reenliven and, especially, broaden the
critical landscape of Nichol's works.  The editors are particularly
interested in critical/critical-creative submissions from young and
emerging scholars/writers who are part of a generation that never knew
"Barrie" or "beep."

Submissions could address:
*Nichol's essays, sound poems, visual poems, novels, pamphlets,
broadsides, computer-poems, script writing, collaborations, ephemera
etc. and, of course, The Martyrology
*his work with Therafields, the TRG, the Four Horsemen, the Tish poets etc.
*his literary inheritors
*his literary and/or philosophical influences
*the issue of autobiography in relation to his work
*his critical reception outside of Canada and/or the U.S.

However, the above list is merely suggestive.

Please send proposals to Lori Emerson (lori.emerson@gmail.com) by 1
December 2006.  Notifications of acceptance will be made no later than
15 January 2007.  Finished essays will be appreciated by 1 April 2005
and should not exceed 3500 words in length.

For more information on Open Letter visit



Karri Kokkoon
on his blog
a video clip of my reading, with Leevi Lehto
of "Thank You for Saying Thank You" (from Girly Man
at Café Engel in Helsinki, Finland, Oct. 2, 2006

link    |  10-11-06

Leevi Lehto
(on his web site)
has provided a link to
writing in English by Anna Politkovskaya
the Russian journalist who was assassinated this week
Leevi writes:
Yesterday's "candle manifestation", organized by the Finnish PEN, in front of the Russian Embassy in Helsinki, for the memory of Anna Politkovskaya, the brave and all-important Russian journalist murdered Saturday afternoon in Moscow, gathered more than a thousand people (the police estimate), which - perhaps symptomatically - is more than the crowds in similar events in Moscow. In the Helsinki manifestation, Heidi Hautala, Finnish member of the EU Parliament (Green Party), Arne Ruth, the former president of the Swedish Pen, and I, among others, spoke out against a new "Finlandization", referring to a certain Western-European tendency to turn a blind eye to the steadily aggravating Human Rights situation in present Russia. Vis-a-vis the in fact quite gloomy perspectives opened by this barbarian murder, I see the uncompromising courage of Anna as the only model available to us all to counter the cowards in Kremlin as well as among the Finnish political elite, and elsewhere.


's new
English language portal
(part of the new EPC portal project)
has recently published

Marjorie Perloff on Guy Davenport

Craig Dworken's "Trotsky's Hammer"

Alcir Pécora on Haroldo de Campos

Odile Cisneros on Brazilian Poetry Journals of the 21st Century


Meanwhile, PEPC has made available a digital edition of
Marjorie Perloff's
"The Word as Such: L=A=N=G=U=A=G=E Poetry in the Eighties"
originally published  in the American Poetry Review in 1984


link    |  10-10-06

link    |  10-09-06

Charles Baudelaire, The Flowers of Evil, tr. Keith Waldrop (Middletown, Conn.: Wesleyan University Press, 2006).
Waldrop translates the complete series in a remarkably compelling and consistently incisive style as well as providing a superb introduction. He adopts a “measured,” rhythmically inflected, sentence-based format, with each prose paragraph corresponding to a stanza. Waldrop calls the form “versets,” pointing to the King James version of the Psalms as a model.

Arkadii Dragomoschenko, tr. Evgeny Pavlov, ed. Terry Myers, intro. Jacob Edmond Chinese Sun (Brooklyn: Ugly Duckling Presse, 2005)
Every English translation of Dragomoschenko’s poetry is a notable event, but here we have the longest work so far: a prose meditation of more than 300 pages in Evgeny Pavlov’s evocative translation. You can dive anywhere into this sea of philosophy, memory, speculation, and dialog. Worth a detour..

Ameila Glazier and David Weintraubm ed, Amelia Glaser, tr., Proletpen (Madison: University of Wisconsin Press 2005)
The Yiddish socialist poets of the period after World War One were divided by their affiliations with the more pro-Soviet Frayhayt, and anti-Soviet Forverts (Forward) as Dovid Katz tells the story in his highly informative introduction. This anthology brings together 30 second-wave modernist poets (those born 1889-1909) on the Frayhayt side of the spectrum, who have not been included in previous Yiddish anthologies due to Cold War politics, as Katz explains it. Bi-lingual facing pages.

Reynoldo Jiménez, ed. El Libro De Unos Sonidos: 37 Poetas del Perú (Buenos Aires: tsé, tsé, 2005)
A panoramic view of 20th-century poetry from Peru, featuring poets born from 1874 until 1935; 600 pages in all in this Spanish language anthology. For many North Americans, only César Vallejo will be familiar. Here you will find, for example, a poem, presented in bilingually, by indigenous poet José María Arguedas (1911-1969), addressed to the 18th-century Peruvian indigenous revolutionary, “Tupac Amaru Kamq Taytamamchisman: Haylli-Taki” (“To Our Father Creator Tupac Amaru: Hymm-Song”). The anthology is published by tsé, tsé, which is edited by Jiménez, Gabriela Giusti, and Caros Ricardo. With 15 issues, 200 large-format pages each, this is one of the best edited and most far-ranging of a spate of lively Argentine poetry magazines: a model for anyone interested in the poetics of the Americas.

Eugene Ostashevsky, OBERIU: An Anthology of Russian Absurdism (Evanston, Ill.: Northwestern University Press, 2006)
Poetry, drama, and prose, from 1926-1942, by Alexander Vvedensky, Daniil Kharms, Nikolai Zabolotsky, Nikolai Oleinikov, Leonid Lipavsky and Yakov Druskin, translated by the galvanizing crew of younger Russian American poets living in & around NY: Ostashevsky, Matvei Yankelevich, Thomas Epstein, Genya Turovskaya, and Ilya Bernstein. This is fascinating work, post-Futurist, new to most English readers.

link    |  10-4-06

New York book launch
Girly Man
Labyrinth Books, Oct. 10, 6pm

536 West 112th Street
betw. Broadway & Amsterdam


The New York City Poetry Calendar
presented by Columbia New Poetry
is up and running
with extensive listings
& easy to find via EPC alpha links


Not Generalizing at All
Marko Niemi, a Finnish poet, has made a javascript extension/version
(or maybe it's digital permutations of)
"In Particular"
from Girly Man

("Not Generalizing at All" is a literal translation of the Finnish translation of the poem's title.)


Girly Man on-line
links to the poems that were previously published on the web
critical responses * notes & extensions


DIRECTIONS: For each pair of sentences, circle the letter, a or b, that best expresses your viewpoint.

a. Girly Man’s meanings are largely organized by luck or chance.
b. Charles Bernstein’s intentions determine what these poems mean.

a. Girly Man is indifferent to human needs.
b. Girly Man has some purpose, even if obscure.

a. Poetry like this brings the greatest happiness.
b. Poetry like this is illusory and its pleasures, transient.

a. Overall, Charles Bernstein has been harmful to American culture.
b. Overall, Charles Bernstein has been beneficial to American culture.

(This written endorsement of Girly Man should be removed for inspection and verification.)

—Jerome McGann

---------------------------------tear here-------------------------------------

link    |  10-3-06

As we near the close of our High Holy Day services for
5767, in these last hours of the Day of Atonement, Yom
Kippur, let us say the litanies of confession,

fulll post archived here

link    |  10/1/06

photo: Turun Sanomat

Today I am at the Turku, Finland, Book Fair
for the release of

A Defence of Poetry: Essays and Poems from Two Millennia
translated, and with an introduction by, Leevi Lehto
and Markku Into, Teemu Manninen, Tuomas Nevanlinna, Tommi Nuopponen & Aki Salmela
cover by Susan Bee

the entire book is available as a pdf from the publisher

& there is an interview by Tuomo Karhu in today's Turun Sanomat (Turku's daily)
& a review by Markku Paasonen in today's Helsingin Sanomat (the main Helsinki paper) [no link]

link    |  09-30-06

I have made a web page of some
poems and essays of the
Beograd poet and translator Dubravka Djurić.
Dubravka is pictured above with Juliana Spahr, in a photo from 2003.
Dubravka and Misko Suvakovic edited
Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991
published by MIT Press in 2004
& which has just come out in paper.

On the Djurić web page, you will find
two poems in translation
plus links to:
"Post-Communist Poetry" from 99 Poets/1999
"A Few Statements on Politics and Power in Culture" (
(from Chain 1)
"Letters from Belgrade" (1999)
emails Dubravka wrote to me during the US bombing of Beograd
(from Chain 7).

link    |  09-21-06

Anne-Marie Albiach

Anne-Marie Albiach, Figured Image, tr. Keith Waldrop ( Sausalito: Post-Apollo 2006)
_______, Figurations de l'image (Paris: Flammarion, 2004)
Anne-Marie Albiach's words are never alone on the page, having each other for company, just as they find here ideal companionship in Keith Waldrop's translation. In Figurations de l'image, Albiach pursues her rigorous investigation into the possibilities of measure, the perceptible, luminescence, vulnerability, memory, contour, ardor, breath, oscillation, remonstration, trajectory, disparity, abstraction, antecedence, disparity, refraction, trace, tapestry, rehearsal, reverberation, and the irreparable. In these poems, the figures refute image as they bank, relapse, surge, palsy, recollect. Albiach scores space to twine time, abjures rhyme to make blank shimmer in the mark.

Anne-Marie Albiach and Richard Tuttle: L’EXCÉS: cette measure ( Paris: Yvon Lambert, 2004).
This livre d’artist has as its text one section of Figurations de l'image. A large format, sumptuously printed book. Tuttle suffuses Albiach’s work in so much articulated white space of his own elegant design that he manages to contain her use of the page. In this small theater box of a book, Albiach’s white space appears as a form of highly delineated inscription, which, of course, it always is. The title – the tension between excess and measure – is beautifully articulated by the two artists, both of whom are part of the generation born during the Second War, that I discuss elsewhere (Albiach was born, like Susan Howe, in 1937)..

Jean Daive, Anne-Marie Albiach L’Exact Réel (Marseille: Éric Pesty Éditeur, 2006)
This volume collects a number of linked interviews by Daive of Albiach. In the first, she discusses État in a transcription of a 1978 radio broadcast. The next section comes from a 1978 radio transcription, in which Albiach discusses Beckett’s Premier Amour and continues with two 1990 conversations, focusing on État and Mezza Voce. The next interview is at Albiach’s apartment in 1997; she discusses Bataille. In the last, from 2003, Albiach discusses her collaborative book with Richard Tuttle: L’EXCÉS: cette measure (Paris: Yvon Lambert, 2004).

link    |  09-18-06

EPC Archive Publication
link    | 09-16-06

New issue of Drunken Boat
features Jean-Jacques Poucel's Oulipo compendium
which includes both historical material and much new poetry in the wake of ...
& also
"Canadian Strange" a section of  new writing (mostly poetry) from Canada edited by Sina Queyras 


Just out from the University of Iowa Press

1. Buy it.
2. Listen up.
3. Deprofessionalize.
4. Buy a copy for a friend.
5. Write a book like this.
6. Industrial Poetics is da bomb.
7. Because the taste is what counts.


nypoesi call for submission

The December edition of nypoesi has "oversettelse" ("in translation") as a working title. This is an open invitation to submit works that show the translation process and/or method. That is: not "completed translations" of works from one language to another, but texts where the translation process and methods are readable. This does not necessarily mean translating from one natural language to another, but could also mean a translation within a language, or translations between different media. The text(s) can also be supplied by a commentary, preferable in English, but this is not a requirement.

Deadline for submitting work: Friday November 24. There is no requirement as to the length of submitted works. The text can be previously published, in which case we ask that you state where it has been published previously. We also accept pictures and sound files. Please attach a short bio to your submission.

Nypoesi is a Scandinavian Internet magazine for international contemporary poetry. The magazine is edited in Oslo, Norway. To get an impression of the magazine and the kind of works we are publishing, please see our last two issues, Nye dikt (New Poems) and Sprkbeherskelse (Mastering Language). This invitation is sent to poets from several countries. Submissions will not be translated into Norwegian, so it is a requirement that submissions are written in a form where they are, at least to some degree, available to readers that have no or limited knowledge of the language in use. The works in this edition will in other words not only confer to what can be transferred from one language to another, but also to what can be transferred and read within one language.

Submissions can be sent to: redaksjonen-AT-nypoesi.net. Please don't hesitate to contact us if you have questions regarding this invitation.

Kind regards,
Stian Kristensen, Torunn Borge & Paal Bjelke Andersen
link    |  09-14-06

Segue Reading series at the Bowery Poetry Club in  New York
Fall Reading Schedule


Chris Westcott is organizing a select New York City Poetry Calendar to add to the Columbia New Poetry web site. Says Chris:
I am writing to ask for your help & submissions to Columbia New  Poetry's new NYC poetry calendar. If you are aware of relevant events that will take place in NY in the coming year, please take a moment to submit event info.  Also, please notify anyone else who may have dates to add.  Submissions can be made here.


It's melting: Ligorano/Reese provide a chilling chronicle of the tragic fate of democracy, at home and abroad, in the hot air of the Bush quagmire. You'll laugh until you cry icy tears.

See Marshall Reese's and Nora Ligorano's "State of the Art," a DVD of the slow meltdown of their ice sculpture of the word "DEMOCRACY"
view on
Youtube or Google video
Opening in Chelsea (NY) this Thursday, September 14, 6-8 PM
The Message Is the Medium
a show that is actively thinking toward new possibilites for political art
curated by Marshall Reese
Robert Attanasio, Constantin Boym, Jim Campbell, Nancy Davenport, Peggy Diggs, Christoph Draeger, Hans Haacke, Jane Hammond, Louis Hock, Ligorano/Reese, Marlene McCarty, Muntadas, Yoko Ono, Carolee Schneemann, Dread Scott, Peter Scott, Krzystof Wodiczko
September 9 - September 30
Jim Kempner Fine Art
501 West 23 Street, NY, NY 10001
Entrance on 10th Avenue


Speaking of America ...

The Library of The General Society of Mechanics and Tradesmen of the City of New York presents:
a secular oratorio by BEN YARMOLINSKY
Friday, September 15th, 2006 at 8:00 P.M.
The Library, The General Society of Mechanics and Tradesmen
20 West 44th Street, New York 10036
$15 admission/$10 for seniors, students and subscribers to The Library
Contact:  library@generalsociety.org
The Constitution is a musical setting of portions of the United States Constitution. It is patterned after the Handelian oratorio, a musical form in vogue at the time of the drafting of the document. This portable version of the piece for four singers will be available for performances in schools, libraries, and other civic institutions. The work is approximately an hour and ten minutes in length, and is divided into two halves: the Constitution itself, Articles 1-7 (45 mins.), and the Bill of Rights and subsequent amendments (35-40 mins.). Performers: Soprano Beth Ann Hatton, mezzo-soprano Silvie Jensen, tenor Aram Tchobanian, baritone Bruce Rameker, and pianist Ishmael Wallace.
link    |  09-13-06


top: Julio Galán , Behind You. Galán, the exuberant, brilliant Mexican artist died August 4, at the age of  46
2d row: Anne George & Brad Freeman, Once Removed; John Waters, Playdate; Ruth Laxson, A Hundred Years of Lex Flex
bottom: Susan Bee, Red Dot

Johanna Drucker has curated Complicit! Contemporary American Art & Mass Culture for the University of Virginia Art Museum. The show explores the relation of contemporary art to mass culture. Drucker here extends the thinking in her recent book from the University of Chicago press, Sweet Dreams: Contemporary Art and Complicity.

There is an extensive web site, which features, among many other things, audio interview's with several of the artists, including the co-editors of  M/E/A/N/I/N/G, Susan Bee and Mira Schor.

link    |  9/12/06





Intentionally Left Blank





link    |  9/11/06

The Theory of Flawed Design

The Theory of Flawed Design is not a scientifically proven alternative to evolution. It is based on the everyday life experience that natural selection could not have produced such a catastrophic outcome. Optimists and the religiously inclined will naturally prefer evolution as an explanation, since ascribing design to the state of humanity is almost unbearable. For the rest of us, we must continue to insist that the Theory of Flawed Design be taught cheek and jowl, neck and neck, mano e mano, with Mr. Darwin’s speculations.

The Theory of Flawed Design postulates a creator who is mentally impaired, either through some genetic defect or because of substance abuse, and is predisposed to behave in a sociopathic manner; although some Benign Flawed Design theorists, as they call themselves, posit the radical alternative that the creator was distracted or inattentive and the flaws are not the result of malevolent will but incompetence or incapacity.


"The Theory of Flawed Design" is included in a new e-book, Babylon Burning: 9/11 Five Years On, edited by Todd Swift and published by nthposition. Nearly 90 poets from around the world have contributed to the collection, including bill bissett, Maxine Chernoff,  Ken Edwards, Elaine Feinstein, Peter Finch, Sandra Gilbert, Bob Holman, Paul Hoover, Halvard Johnson, Chris Jones, Peter Middleton, Joe Ross, Robert Sheppard, Nathaniel Tarn, Rodrigo Toscano, John Tranter and John Welch.

link    |  9/10/06

Knockin’ on Heaven’s Door: Bob Dylan and the Adolescent Sublime

from The Brooklyn Rail (Sept. 2006)

Bobby Zimmerman done good. From 1962, when, at the age of 22 he invented himself as Bob Dylan, and for the next 13 years, ending with one his many masterpieces, Blood on the Tracks, when he was 35 , he wrote ’n’ sung some of the most remarkable, buoyant, an’ expansive works in the history of American song. Yet Dylan reached his apogee just five years after Blood on the Tracks, with his unredeemably lost album (which he called, without evident irony, Saved). And now, or anyway a couple of years back, Dylan has released the first of what may be an ongoing memoir. The book attempts to grapple with what made those 13 years possible and also what happened after. Yet, from the point of view of dealing with what happened after 1975, the book is a strategic failure, since Dylan has about as much critical distance on himself as a trapeze artist in a lion’s den. But then, the morale of his take is that there is, indeed, no failure like success.

continued in the September issue of The Brooklyn Rail

link    |  09-08-06
receive new posts as email

photo from Jacket

Michael Palmer receives the Wallace Stevens Award from the American Academy of Poets
from the Poets.Org Press Release:
The $100,000 prize recognizes outstanding and proven mastery in the art of poetry. The judges for the award were poets Robert Hass, Fanny Howe, Susan Stewart, Arthur Sze, and Dean Young.
Robert Hass, on selecting Palmer to receive the award, wrote:
Michael Palmer is the foremost experimental poet of his generation and perhaps of the last several generations. A gorgeous writer who has taken cues from Wallace Stevens, the Black Mountain poets, John Ashbery, contemporary French poets, the poetics of Octavio Paz, and from language poetries. He is one of the most original craftsmen at work in English at the present time. His poetry is at once a dark and comic interrogation of the possibilities of representation in language, but its continuing surprise is its resourcefulness and its sheer beauty.


Got this link wrong a couple of days ago:
MySpace + OULIPO =  oumypo
This is the work of Luke McGowan

McGowan can be heard on PennSound doing his
Robo Ursonate (2005) (18:36)
"The physical generation of the piece was a remarkably effortless process on the part of the artist: Schwitters' score was simply cut and pasted into a commercial text-to-speech synthesis program with all further performative/compositional decisions made by the computer.  There was no attempt to correct interpretive error, nor was there any tinkering with the program's default prosody settings."

"Robo Ursonate" is part of a "Deformance" page I am working on for PennSound; it's still in the preliminary phase, but you'll get the idea.


Is this a Tristan Tzara sound poem?
Answer Here

link    |  09-07-06

Futurepoem books will hold an open reading period for manuscripts during the month of September 2006. Manuscripts must be postmarked during the month of September to be considered. Editors for this reading period will be Laura Elrick, Rob Fitterman, Tonya Foster, and Dan Machlin. More info at the FuturePoem web site.


The fourth issue of Green  Integer Review is now out.


Leevi Lehto
" The Paradoxes of Influence: Provincialism versus the Possibility of World Poetry"


Reality Street Editions
Summer Sale
any four of the following books for a total of 10 pounds sterling (all 13 for 30 pounds).
Cris Cheek & Sianed Jones: SONGS FROM NAVIGATION, Kelvin Corcoran: LYRIC LYRIC, Ken Edwards: FUTURES, Allen Fisher: DISPOSSESSION AND CURE, Susan Gevirtz: TAKEN PLACE, Anselm Hollo (ed. & tr.): FIVE FROM FINLAND, Barbara Guest: IF SO, TELL ME, Tony Lopez: DATA SHADOW, Lisa Robertson: THE WEATHER, Lisa Robertson: DEBBIE: AN EPIC, Maurice Scully: STEPS, Robert Sheppard : THE LORES, Lawrence Upton: WIRE SCULPTURES
Sale ends 8 September 2006/ order here

link    |  09-04-06

link    |  09-01-06

The Paraliterary

The Kootenay School of Writing has sent out a call for “paraliterary" work for W magazine & they give this great list of possibilities:

1. informational texts (surveys; polls; maps; statistical charts; chronologies; diagrams;
2. conspiracy theories; research results)
3. notational projects (diaries; ongoing notes; classroom notes; records; lists; inventories;
4. specialised glossaries and lexicons)
5. annotational projects (annotations of other texts)
6. pseudo theory; pseudo poetics, pseudo philosophy; pseudo theology; pseudo manifestos; pseudo research
7. amateur science and pseudo sciences (investigations into: linguistics; etymology; astrology; astronomy; biology; 'pataphysics or "pataphysics)
8. occult writings (automatic writing; ouija board transcriptions; transcriptions of divinations; predictions; tarot readings of persons or texts)
9. found texts and found text-objects (scans or transcripts of interesting documents; posters; ephemera; ads; letters; notes; signs; report cards)
10. collections of texts (blurbs; phone messages; subject lines; typos in famous works)
11. interviews from interesting social contexts (faked or real; raw transcriptions of speech)
12. documentary writings and mockumentary writings
13. alphabetic projects (new alphabets; spelling reforms; codes; encryptions, stereograms)
14. scriptural projects (i.e., investigations of how scriptural systems and technologies interact with writing)
15. excerpts from artists' book projects (incl text-based photographic projects; photos of book sculptures)
16. photos/snapshots with significant textual content/context
17. conceptual writing; text-based conceptual works
18. uncreative writing
19. text-based visual art
20. outsider writings
21. graphic musical scores
22. certain cut-ups, aleatoric and erasure writings
23. certain visual/concrete poetry
24. certain flarf
25. certain song lyrics (if appreciable as "outsider" texts)

More info here.

link    |  08-30-06

Régis's Palms

Régis Bonvicino
Régis and I were riding through the outskirts of São Paulo on our way to Campinas. The World Cup was on and Régis shares Brazil's big-time enthrallment with the series. At one point, in an email, Régis reprimanded me for referring to the "Australia and Brazil game." "In Brazil, you never write the 'Brazil - Australia game', but 'Brazil x Australia'. The x meaning the match, the 'hardness' of the game .... It sounds like a battle, for us, not like a game." Régis told me he was devoted to a local football team and went to almost all their games. "My team's name is Palmeiras (Palms), founded in 1914 by Italian immigrants to keep alive Italian traditions in São Paulo." I asked him how the team was doing.

June 29, 2006
(23 seconds, 3mb)
link    |  08-29-96

George Lakoff

George came to visit Susan Bee and me on the Fourth of July. He was in town to promote his new book, Whose Freedom?: The Battle Over America's Most Important Ideal. I asked him why John Kerry had failed to respond forcefully to the Swift Boat smears. You can hear Susan in the background.

July 4, 2006
(1 min., 8 mb mp4)
[click mp4 link to download or stream; or copy URL & paste into "open stream" in media player]
 link    |  08-26-06




A day at the beach

Is a peach of a day

To run & sing & play

We'll swim 'till 4

And go home for some snores

Then go back to the beach again





from "Emma's Nursery Rimes" forthcoming in Girly Man
Race Point, August 18, 2006

link    |  08-20-06


In its final stages of construction, the new Kootenay School of Writing audio archive is a treasure trove. Donato Mancini has been working on this for a couple of years and has done a terrific job. It includes the complete recordings from both the New Poetics Colloquium (August 21-25, 1985) and the Split/Shift Conference (August 1986). It's the 20th anniversary of Split/Shift and the 21st for New Poetics. The KSW site also offer a detailed chronology and history of KSW, which has remained one of the very few truly stellar centers for North American poetry over the past quarter century.
[Note: the poster on the left gives an earlier date for the conference.]


Last week, I participated in Quick Muse's new 15-minute write-a-thon. The idea is that you are given a quotation and asked to respond with a poem. All your keystrokes are recorded & can later be played back via "poematic," a "poem recording and playback" system devised by Fletcher Moore;  there is also a separate file of the "final" poem. Results at QuckMuse.


I just received an advance copy of Girly Man; my new collection of poetry, which is scheduled for publication September 15 by the University of Chicago Press.


In 1975, Susan  Howe produced a reading of Charles Reznikoff for her radio show, "Poetry Today," on WBAI/Pacifica.
PennSound has just made this program available:
MP3 (59:37)

link    |  08-19-06

the University of California Press
Fall 2006:

back in print
this Fall:


On Words: A Symposium on the Life and Work of Robert Creeley

SUNY-Buffalo, Oct. 12-14


Reconsidering Robert Creeley (1926–2005)
12:00 noon–1:15 p.m., Grand Ballroom Salon K, Philadelphia Marriott, session #425
MLA Annual Convention, Philadelphia
Timothy Pan Yu, Univ. of Toronto
1. “The Plan Is the Body,” Charles Bernstein, Univ. of Pennsylvania
2. “Taking the Measure of Robert Creeley,” Stephen A. Fredman, Univ. of Notre Dame
3. “‘A Friend / Who’s a Woman’: Reconsidering Robert Creeley’s Company,” Libbie Rifkin, Georgetown Univ.
Respondent: Michael Davidson, Univ. of California, San Diego


recently published :

Hank Lazer on On Earth  (via Golden Handcuffs)
(note: scroll down to middle of html page)


Creeley @ EPC
Creeley @ PennSound

link    |  08-17-06

link    |  08-16-06

Vito Acconci
LANGUAGE TO COVER A PAGE: The Early Writings of Vito Acconci
ed. Craig Dworkin
(MIT Press, 2006)
.Vito Acconci
LANGUAGE TO COVER A PAGE: The Early Writings of Vito Acconci
ed. Craig Dworkin
(MIT Press, 2006)
.Vito Acconci
Vito Acconci
LANGUAGE TO COVER A PAGE: The Early Writings of Vito Acconci
ed. Craig Dworkin
(MIT Press, 2006)
LANGUAGE TO COVER A PAGE: The Early Writings of Vito Acconci
ed. Craig Dworkin
(MIT Press, 2006)
.Vito Acconci
LANGUAGE TO COVER A PAGE: The Early Writings of Vito Acconci
ed. Craig Dworkin
(MIT Press, 2006)
.Vito Acconci

review linked here

link    |  08-13-08

link    |  08-10-06                                                               

Four Brief Reviews

Colin Browne, Ground Water (Vancouver: Talon Books, 2002)
Browne’s book, written from the late 80s to 2001, operates more like a succession of strata, in the Robert Smithson sense, than a conventional collection of poems. Ground Water juxtaposes an engaging variety of formal approaches – from radical translation to Olsonian site-specific writing, from zaum to performance script, from mosaicked lists to sprung lyrics, in all providing a visceral sense of poetry’s often untapped potential for thick description.


Robert Kelly, Unquell the Dawn Now (Kingston, NY: McPherson & Company, 1999)
Features Robert Kelly's magnificent homophonic translation of  Holderlin’s “Am Quell der Donau”. At a translation conference at Barnard several years back, Kelly noted that he wanted to do a completely non-comic homophonic translation, partly to show that this approach to translation doesn't need to be comic. He has succeeded not only brilliantly but with an aural richness that approaches the sublime. This artist's book, with CD, multiple translations/transformations, with contributions from Schuldt and Susan Gillespie, has been featured by Bruce McPherson as part of his 2005 Kelly catalog.


Ko Un, Ten Thousand Lives, tr. from Korean by Brother Anthony of Taizé, Young-moo Im, and Gary Gach. Introduction by Robert Haas (Green Integer, 2005)
While in prison, for resistance to the South Korean dictatorship of the early 1980s, Ko Un, who was born in 1933, resolved to write a poem for every person he met in his life. Green Integer presents an excerpt from the 10 volume, ongoing work. The result has the typological sweep of August Sander, who imagined doing photographic portraits of ordinary people, at the same time there is a bit of late Whitman’s desire to touch every person he meets with his poems. The series of portraits are part parable, part zen koan. Poverty is never far from any of these serial poems, nor is the violence of the Japanese occupation of Korea. The last section includes portraits of major political figures in a way that sometimes resembles a kinder, gentler socialist realism. The poems about Ko’s literary forebears are stunning. Since I don’t know Korean, I can’t offer much commentary on the translations, but the English is vivid, colloquial, and compelling. The power of the whole is not captured by any one portrait, which tend to be underplayed and avoid excessive drama (akin to the poetics of Reznikoff). I offer this, therefore, not as exemplary but as a sample:


 On a bank by the stream at Mijea
a solitary fisherman,
long-legged Sa-haeng
was reeling in his line.
Sa-haeng’s son Ch’il song came running along the other bank.
“Dad, dad. Ma’s dead and won’t shut her eyes!”

He was too far away, his shouts were wasted.
Cold waves lap between the two, forever parted.


Gilbert Sorrentino, New and Selected Poems 1958-1998 (Green Integer, 2004)
This notable volume has over 400 pages of poems. Sorrentino (1929-2006) is primarily known for his novels, published by such presses as Sun & Moon and Dalkey Archives; but his poetry is both substantial and engaging. His earliest poems bear the unmistakably mark of Creeley, as acknowledged by the title of his first collection, The Darkness that Surrounds Us (1960). After that, a meandering voice emerges, sharp and blunt at the same time, often psychologically and intellectually stunned and stunted by erotic desire. One of the best is the last poem in the 1971 collection, Corrosive Sublimate:


Certain portions of the heart
die and are dead. They are

Cannot be exorcised or brought
to life.

Do not disturb yourself
to become whole.

They are dead, go down
in the dark and sit with them
once in a while.

link    |  08-11-06

In a recent poem, Leonard Schwartz asks — what can drive a nonviolent person to violence? My question would be what can drive a violent person to nonviolence, since that is the only hope when there is too much righteousness on all sides. Who’s right (or who’s been more wronged), who's got the rights (or who's got the wrongs), or when you date the right (or wrong) only feeds the fire, since there are so many factors, real and imaginary, that one or the other side chooses, as a matter of principle, to discount. While I am for counting all the factors. But then it's not poetry but violence that rules.


text from "How Empty Is My Bread Pudding" [published in No 4 (2005)]
image: Susan Bee, detail from Babe

link    |  08-07-06

New at PennSound
Jerome McGann

Performance of 'Dialogue on Dialogue'
recorded at SUNY Buffalo, April 3, 1991

Additional Resources:
McGann home page at UVa

link    |  08-06-06

The University of Alabama Press Modern and Contemporary Poetry series has just published Rachel DuPlessis's The Pink Guitar: Writing as Feminist Practice, which brings back into print her influential collection of essays. We are publishing this as a companion to The Blue Studios , which I announced here last week.

Rachel DuPlessis was one of the initial editors of How(ever) magazine. The Modern and Contemporary Poetics series also published Translating the Unspeakable: Poetry and the Innovative Necessity by Kathleen Fraser, How(ever)'s founder. The publication morphed into an on-line journal, How2, which is currently edited by Kate Fagan, with Redell Olsen. They have just announced their new issue
Vol. 2 Issue 4


At the EPC, we are happy to announce the launch of two new author pages

David Bromige

(edited by Michael Rothenberg)


Charles North

(edited by Jack Krick)

link    |  08-03-06

Doping Scandal Rocks Poetry

link    |  08-01-06

link    |  07-29-06


Jardim Botânico, Rio de Janeiro
Photo © José Eduardo Barros 

During my visit to Brazil in July, I spent the afternoon in Rio with the very engaging poet and psychoanalyst Solange Rebuzzi. We took a whirlwind trip  through the city on a very rainy day, a long walk in the Botanical Gardens, and ended up in a small bookstore café. We spoke of many things, including the effect on poetry of the military dictatorships in Spain, Portugal, Brazil, and Argentina; and also the situation for women in  Brazilian and American poetry. Solange gives an account (in Portuguese) in Croniópios


"Who’s to say, what’s to say?"

Image © Susan Bee (detail)

Two new essays on Shadowtime take up the issue of the difficulty/accessibility of the opera:

Charlie Bertsche
"Bitter Greens: Walter Benjamin Goes to the Opera"
Tikkun —
July/August 2006

Klaus Lippe's
""Who’s to Say, What’s to Say?:
Notes on the Reception of Brian Ferneyhough’s Opera Shadowtime
(in the Context of Niklas Luhmann’s Theory of Art)
Musik & Ästhetik's January issue
which includes an English abstract.
An English version of this essay is available via IBM's new translation engine.
This translation is entirely machine-constructed from the German text and, as such, bears the heavy mark of its translator, which may well be in the spirit of  a certain "IBM Altern Jew" to whom the opera in question is unfaithfully dedicated.



"Mirror (Säo Paulo)" [CB]

Paul Hoover :
My Kind of Town: Local Literary Community

link    |  07-28-06 

The new American Book Review (July/August #27:5) edited by Kass Fleisher and Joe Amato, has a special poetics feature with reviews of a number of reviews of the Modern and Contemporary Poetics series from the University of Alabama Press, which Hank Lazer and I edit. I am very grateful to both of them for the job they have done putting this issue together and also express my deep regret that are leaving ABR so soon after arriving and especially after doing such a great job. The Amato-edited poetics section features Joris on Rasula, Levy on Nielsen, Baldwin on Morris & Swiss, Murphy on HOW2, LoLordo on Friedlander and Middleton, Magee on Bruns, McMorris on Waldrop and Scully,  Robinson on Schultz, Mitchell on Heller, and Sondheim on Heller-Roaze. [More info on getting ABR from Tara Reeser, Director of Publications Unit, Illinois State University <tareese  @  ilstu.edu>

Speaking of the Modern and Contemporary Poetics series ... just in the mail are our two newest books:

Rachel DuPlessis, Blue Studios: Poetry and Its Cultural Work
Andrew Dubois, Ashbery's Forms of Attention


link    |  07-27-06 

Susan Bee & Charles Bernstein

link    |  July 24, 2006  

link    |  July 23, 2006

Present Tense: Literary Artists & Performers Engaging Chaucer

A special presentation of the Fifteenth Annual Conference of the New Chaucer Society

Friday, July 28 at 8pm 
Fordham University Lincoln Center Campus
(113 West 60th St., in Manhattan)            
Lowenstein 12th Floor Lounge
*free and open to the public*

Organized by David Wallace, University of Pennsylvania
Host: Charles Bernstein, University of Pennsylvania

Susan Stewart, Princeton University
Dreaming after Chaucer

Wendy Steiner, University of Pennsylvania
"The Loathly Lady:  An Animated Opera."

Caroline Bergvall, Bard College
Performing Chaucer's Feasts

Co-sponsored by Poets House and the Medieval Club of New York

link    |  July 21, 2006

New at PennSound

Ezra Pound reading from The Cantos at Spoleto in 1967
Allen Ginsberg reading Howl, Kaddish and much else in San Francisco in 1956 and 1959 in San Francisco and in New York in 1995
Barbara Guest in Buffalo in 1992: reading and a lecture, "How I Got Out of Poetry and Into Prose" followed by discussion
Erica Hunt's "Notes for an Oppositional Poetics" as first presented at The New School in 1988 and subsequently published in The Politics of Poetics Form; includes the extended discussion following the talk
Jackson Mac Low reading in New York in 2004
Samuel R. Delany's "The Star Pit" (a radio play produced in 1967, with Delany narrating)
David Antin: two talks — at St. Mark's Talks series in 1984 and Buffalo in 1992
Amiri Baraka in San Francisco in 1965
Robert Creeley, Susan Howe, Charles Bernstein in Buffalo, 1995


link    |  July 18, 2006

Hail, Ossian!

Anne-Louis Girodet-Trioson
Ossian Receiving the Spirits of the French Heroes, 1801

Now there was time when poets got some respect. Ossian, who many of us consider the authentic poetic voice of the British Isles, is greeted by none other than Emperor Napoleon. When Jacques-Louis David (Girodet's teacher) first saw this painting, evidently he spoke words not printable on a family web site like this, to the effect of "What the *&^!!###!~%))((??!!!" and on the spot came up with the theory Clement Greenberg would later codify in "Avant Garde and Kitsch." "If that's painting," David said, "then I am not a painter" (or was it David Antin who said that, I get confused). M. Girodet (don't let the "Anne" confuse you, transgendered name, gendered painter) is now on view and you can certainly understand David's problem. But Maxfield Parish would feel quite at home. The Metropolitan Museum of Art has a full-scale Girodet show up till August 27 and it is billing Girodet as Romantic Rebel, but I guess it all has to do what you mean by "Romantic." Technically dazzling for sure (and dazing too). If you care to compare Romanticisms, nearby, in the room of new acquisitions, there is a stunning set of Blake's illuminated pages.

One of the most  interesting painting in the show is a well-known 1797 portrait of Jean-Baptiste Belley. Born in Senegal and enslaved in Santo Domingo (Haiti), Belley went on to be one of the Haitian delegates to the French National Convention, which abolished slavery in 1794. In 1802, he fought with Toussaint L'Ouverture and, as a consequence, died in a French prison in 1802. The bust is the painting is Abbé Raynal, a noted abolitionist.


The Met's "AngloMania: Tradition and Transgression in British Fashion" (on view through Sept. 4) is one of the great museum installations of the time. The star-studded opening should not overshadow the originality and élan of this show.

link    |  July 13, 2006

Apostrophes & Things

The Apostrophe Engine
This is the little engine that could ... the source for Apostrophe: The Book by Bill Kennedy and Darren Wershler-Henry, by means of which it is possible to create your own version of the work. One of the most sophisticated examples of a search-engine poem generator. See also Leevi Lehto's Google Poem (use the patterns feature).I've added this to the Experiments List.

For fans of  the Great and Terrible Ern  Malley, the December Cordite Poetry Review (#23) features a collection o f poems in the wake, originally published heteronymically, but now with the authors mostly revealed (at least such is the claim). .For more information on Malley go to the Jacket feature as well as the Ern Malley web site.

Green Integer Review #3 is now out.

A needed, full-scale overview of the life and work of Lorenzo Thomas by Patricia Jones, at tribes.org. For futher information Lorenzo Thomas, check out Thomas's EPC home page. We are still working on getting the titles right, but you can preview the sound files of Thomas's 1978 reading at the Ear Inn (he read with  Kathy Acke) on Thomas's PennSound page. And if you can help us with the bibliographic information about the  poems he read, please contact me directly.

Patricia Jones also has a week-long journal at poetryfoundation.org, where there are also recent journals by Monica de la Torre, Lisa Robertson, Kwane Dawes, Joshua Weiner, and a number of others.

Rain Taxi Summer on-line issue, with reviews of Mackey, Berssenbrugge, Adnan, Messerli on Colin MacInnes, && ...

Sunday July 16th at 7PM:: Selections from Richard Foreman's Ontological Hysteric Theater at Anthology Film Archives. This is Jay Sanders's compilation from 35 years of Foreman's theater, first shown at Penn a couple of months back. Jay does a great job in selecting clips and creating the overall montage. Since I started to see Foreman's plays in the mid-1970s,and I have seen every one the plays in New York since, I was particularly interested in the pieces from before that time, including a stunning black and white clip from "Sophia the Cliffs" filmed by Erne Gehr. For another introduction to Foreman, for those who can't get to NY, I taped three Close Listening shows with him in May. And then there is his EPC author page too.

Leevi Lehto seems to be moving toward a kind of translinguistic poem rooted in this case in a month of emails: "Aus dem Wortspiel der Information."   It's mimesis all over again.

I recently added La Poesia Ricerca in Italia to the EPC links: it's a good introduction to innovative Italian poetry (in Italian).

It Can't Happen Here -- But It Is: Another Scholar Turned Back at JFK.

link    |  July 10, 2006

At the Francis N. Nauman Gallery, New York, through July 28.
The show features our very "own" Mina Loy -- rare sightings of her visual art.

full post and images

link    |  July 7, 2006

link    |  July 5, 2006

link    | July 1, 2006


French Book Art/Livres d'Artistes: Artists and Poets in Dialogue
hrough August 19, 2006
New York Public Library
42nd Street & F
full post here

link    |  June 21, 2006

The Dada show is now open in New York at the Museum of Modern Art
(through Sept. 11)

Caudio Amberian, "LSMFT: This Is not a Pope" (2006)

link    |  June 19, 2006

Sunday Brunch Links

Audio of the New Poetics Colloquium, Vancouver,1985
Kootenay School of Writing.
KSW is in the process of upgrading the files on this site, but as it is now: talks and readings by Howe, Perelman, Silliman, Brossard, Hejinian, Thesen, Gay, Einzig, Harryman, Boweing, Ward, Watten, Palmer, Andrews, and my own first try at "Artifice of Absorption," which responds to several of the presentations at the colloquium, held 21 years ago.

UC Berkeley Lunch Poems: videos of readings by Harryette Mullen, Barbara Guest, Lyn Hejinian, Eugene Ostashevsky, Mei-mi Berssenbrugge, and many others
[thanks to Michael Ball for reminding me of this site]

Publico (Lisbon) interview (in Portuguese) (2006)

Amy King's gender count of the U.S. poets laureate

Kevin Killian on Weldon Kees (from the Poetics List)

Has Virtually Ended Academic Travel to Cuba"
(Chronicle of Higher Education)

MoMA Dada reading, Weds. June 21
with LaTasha N. Nevada Diggs, Pierre Joris, and Bob Holman performing Hugo Ball, Kurt Schwitters, Tristan Tzara &c.

"The Injustice Collector: Is James Joyce’s grandson suppressing scholarship?" by D.T. Max (from The New Yorker)
This article underscores, once again, and in a literary context, the collatoral damage from the Disney copyright protection act, that extended the length of copyright in a way that supresses the free exchange of ideas and privatizes knoweldge.

link    |  June 18, 2006

link    |  June 17, 2006

link    | June 15, 2006

link    |  June 13, 2006


link    |  June 10, 2006

Poesia em Tempo de Guerra e Banalidade
Encontro Internacional de Poesia: Campinas
Espaço Cultural CPFL . Brasil
Maio/ Junho 2006
Curadoria de Régis Bonvicino & Alcir Pécora

Full web log entry for this series, including photos,

Participants included:
Arkaddi Dragomoshenko (Rússia)
Charles Bernstein ( Estados Unidos)
Eduardo Milán (Uruguai/México)
Leevi Lehto (Finlândia)
Nuno Ramos (Brasil)
Paulo Henriques Britto (Brasil)
Roberto Piva (Brasil)
Yao Jing Ming (China)

link    |  June 7, 2006

Eva Hesse at the Jewish Museum (New York)
through September 17, 2006.

"It is my main concern to go beyond what I know and what I can know."
—Eva Hesse, 1968
[from her statement in the Fischbach Gallery catalog for "Chain Polymers"]

Eva Hesse and Robert Smithson are the two New York-based artists of the 1960s who did the most to transform three-dimensional art work into a multi-level transformation of the object of art. This small retrospective provides a acute view of Hesse's amazing work. Hesse was born in 1936 in Hamburg, the child of observant Jews who fled Germany in 1938, moving to Washington  Heights in upper Manhattan. (See the chronology provided on the museum web site.) She is exemplary of the group of artist I wrote about in "The Second War and Postmodern Memory" (in A Poetics), those (in that essay mostly poets) born during the World War II. I am thinking for example of a poem by Robert Grenier, from Phantom Anthems, that I discuss in that essay, specifically in relation to the Hesse work pictured above, in which each unit swerves from its repetitive uniformity through the articulation of anomolies: the work is consituted by the seriality of its anomolies:

o - u -
u - u -ni -
form - ity - o -
u - u - u - ni -
formity - o -
u - unit - de -
formity - u -
unit deformity

In the course of  her very short career — she died of brain tumor in 1970, possibly caused by the toxic materials with which she worked — Eva Hesse produced among the most powerful bodies of structural anti-fascist work of any 20th century artist.

link    |  June 6, 2006

See Tim Peterson's review at at Mappemunde
link    |  June 5, 2006

Rae Armantrout on Close Listening

On May 10, 2006, Rae Armantrout recorded two half-hour Close Listening programs with me at the WPS1.Org. Clocktower studios in lower Manhattan. In the weeks ahead, the shows will be broadcast on WPS1, but we've made them available now on PennSound.As with all PennSound audio archive files, these are downloadable MP3s. A full listing of Close Listening shows is available at PennSound.

Armantrout in Conversation:
Rae Armantrout in conversation with Charles Bernstein on on the truth in poetry, on religion, on living in Southern California, and on the nature of lyric poetry. She also discusses a couple of the poems read on the other Close Listening show.

Armantrout Reading:

link    |  May 30, 2006

Barbara Guest: Composing Herself

Star Black took this picture of Barbara Guest and me at the PSA Frost Medal ceremony in 1999. John Tranter published, in Jacket, the introduction I wrote for that occasion. After Barbara died last February, Albert Mobilio asked me to write an essay about her for Bookforum. I decided to go back to the Frost Medal piece and take it from there. "Composing Herself" was published in the March/April issue of Bookforum:

                           The entire essay is now available in Jacket 29.

link    |  May 27, 2006

Thomas McEvilley on Close Listening

Thomas McEvilley in conversation with Charles Bernstein on cultural exchanges between ancient India and classical Greece; on anti-art, postmodernism, and aesthetics; on how he became an art critic; and on the new critical writing program at the School for Visual Arts. Tom and I recorded the show on April 28 at WPS1's Clocktower Studios in Manhattan:

(about 30 minutes & 30 mb)

McEvilley is the Director of the new Art Criticism and Writing Program at The School for Visual Arts in New York. His most recent book is The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism. His other books include The Shape of Ancient ThoughtArt and Discontent, Art and OthernessThe Exile's Return: Toward a Redefinition of Painting for the Post-Modern Era, and a poem/novel, North of Yesterday.

Close Listening is a produciton of WPS1.Org and PennSound.

link   |  May 23, 2006

Greek Sampler

Thomas McEvilley reads Homer, Sappho, Aeschylus, and Meleajer in Greek, with translation and commentary, in a "Close Listening" program from WPS1.Org, that we've just released at PennSound/Classics. The program is about half an hour.

link   |  May 21, 2006

Close Listening

•A conversation with Mei-mei Berssenbruge
• reading from I Love Artists

On April 28, Mei-mei taped two segments of "Close Listening" at the Clocktower Studio in Manhattan, for broadcast on WPS1.org. Both her reading any my conversation with her and now up at PennSound.

May 19, 2006 |  link

In the summer of 2000, Mei-mei Berssenbrugge and I collaborated on an email dialog, which was published in Conjunctions, issue number 35, the special "American Poetry: States of the Arts" issue. In honor of the publication of Mei-mei's new book from the University of California Press, I Love Artists: New and Selected Poems, here is the dialog, as originally published. Poems of Mei-mei's and of mine, discussed  in the interview, were published in the issue of Conjunctions.

Mei-mei Berrsenbrugge & Charles Bernstein:
A Dialog

[May 17, 2006]

bonus track
after the Charles Alexander & Rodrigo Toscano reading on March 25
at the Bowery Poetry Club in New York
Judith Malina & Hannon Resnikov

performed W. H. Auden's "Refugee Blues," in recognition of the national wave of protests against U.S. immigration policy. The last few lines are cut off from the PennSound recording, but you can read the whole Auden poem here:
(3:18): MP3
(Judith Malina and Julian Beck founded The Living Theater; Malina's most recent appearance  in popular culture was a cameo in a recent episode of The Sopranos.)

May 16, 2006

Live from the Bowery Poetry Club in New York
Segue Series
March 25, 2005
New on PennSound


Charles Alexander
Rodrigo Toscano

May 14, 2006

May 11, New York. —The first night of "Plays on Words,” the poets theater festival at the Ontological Hysteric Theater was a delight for mind, ear, and eye. 22 short pieces were performed, providing a glimpse of 22 different approaches to writing and directing, a veritable primer for poets theater. The no-budget evening of imaginatively staged readings was filled with possibilities, which, if not always fully realized, were continually engaging. Tony Torn, Lee Ann Brown, and Corinna Copp are to be congratulated, and supported, for starting off what I hope will be an annual affair. I was glad to be a part of this: Leandra Ramm, a young and very talented singer, did a great job performing the weather aria from Ben Yarmolinsky and my “Blind Witness News.” The show-stealer was surely four-year-old Miranda, daughter of Lee Ann and Tony, whose several appearance were nothing short of star turns. However, for me the real hit of the evening was Tony Torn himself, doing one brilliant piece of acting after another, from a great rendition of Gregory Corso in Tom Savage’s amusing “Mouth Play” (directed by Mallory Catlet) to a scarily comic version of Richard Nixon in Rachel Loden’s “A Quaker Meeting in Yorba Linda” (directed by David Henderson) to, finally, a tour-de-force in Kelly Cooper’s “I’m doing fine,” in which Torn provided several dozen different readings of the title line. Tony, really, you are doing fine.

The festival continues tomorrow (Friday, May 12) – and I have a chance for my big break. I will be playing the (small) part of Jason Robards opposite the real Kate Valk (playing herself) and Angelica Torn (playing Hannah Schygulla) in Brian Kim Stefan’s short play “Were Stones Gather.” Also on the bill: works by Charles Borkhuis and David Henderson.

More info below.

Photo of Tony Torn, above, from a 2000 production of Ionesco's "The Picture".

Marie Menken
Notes on Marie Menken
a film by Martina Kudlácek

May 1, 2006

Leevi Lehto reading from his translation of "In Particular" in Helsinki.
More on this & link to sound file and the translation at
(see entries for April 29)
& while there check out announcement for the 2006 Helsinki Poetics Conference

[May 3, 2006]

Marty Ehrlich's most recent CD is News on the Rail from Palmento, with a cover by Susan Bee. And if and as you can, listen to track 5, "Erica" for Erica Hunt.

Click on the image, like they say, to go to Marty's home page.

[Cinco de Mayo 2006]

Barbara Guest, Long Island, 1960
(photo courtesy Hadley Guest)

[April 26, 2006]

Poetry Reading in Central Park, New York, 1969. From left: Michael Benedikt, John Perrault, Vito Acconci, John Giorno, and Hannah Weiner
from David Antin's review of the poems of Vito Acconci in the March 2006 Artforum

[April 25, 2006]

photo: Joel Kusza

The week before last, I visited Indiana University of Pennsylvania at the invitation of Ken Sherwood and Joel Kuszai. I had an excellent time meeting with students and faculty, including David Downing, Claude Mark Hurlbert, and Mark Cell. I read at the common space at the Commonplace Coffeehouse. During the day I had the occasion to visit the Jimmy Stewart Museum, where I had a chance to meet Harvey, who was despondent after reading the latest issue of the The Writer's Chronicle of the Associated Writing Programs (he had long ago cancelled his free subscription, but said the issues just kept coming to the museum). I gave Harvey a copy of the latest issue of Works & Days (published at IUP), a special issue dedicated to Richard Ohmann, in hopes that it would encourage him to adopt Gramscian attitude: pessimism of the intellect, optimism of the will.

[April 24, 2006]

Ulla Dydo, the Dean of Gertrude Stein scholarship, has posted a very useful summary of what needs to be done in Stein scholarship. Working  with her, I have added an earlier summary, originally published on the Poetics List. 

Dydo recently edited a Stein page for PennSound. She is the author of Gertrude Stein: The Language that Rises 1923-1934

[April 22, 2006]


It's melting ...

present an ice sculpture
of the word "Democracy"

"The State of Things" - A Temporary Sculpture
Marking the Third Year of the Iraq War

Saturday, April 29, 2006, 12 Noon - 8 PM
One Day Only
in the garden of
Jim Kempner Fine Art
501 West 23 Street, NY, NY 10001

PennSound has recently made available a recording of a rare Marshall Reese reading, at the Bowery Poetry Club Segue series:
February 4, 2006
(27:19): MP3


also by Ligorano/Reese:
Karl Rove "Line-Up T-Shirts"

& of course the John Aschcrroft Snow Globe
still available

[April 21, 2006]

Poetry Off the Books: The Internet is where poetry proliferates
by Craig Morgan Teicher
Publisher's Weekly, 4/10/2006

[April 21, 2006]

Open Echo

Open echo for environments on 24th century studies for a teleference in sector 930 next Fall.  Models and habitats only – please no unilinear submissions.  Arenas to include the limits of interspecies literary productions; eugenics, cosmetology and the new body; syntactic exfoliation and hybrid vocalization in post-WHA [western hemisphere alliance] poetics; abandonment and desperation in earth-oriented performance 2315-2330; network outages and the new Luddism; and copyright and tariff control in compressed space.  Send proposals to <nowhr@noplc-nvr.irk>

[from the new Issue of Coconut]

[April 18, 2006]

Louis Zukofsky: Selected Poems
edited and introduced by Charles Bernstein
Library of America's American Poets Projec
publication date: April 6, 2006


The Essential Louis Zukofsky: David Kaufman's review of the Selected in the Forward.

Ron Silliman on the Selected from his blog.

[April 6, 2006]

Art Walk:
Jaume Plensa
Samuel Palmer
et al.
April 15, 2006


Beatrice Riese

How many Lacanians does it take to install indoor/outdoor porch/patio fluorescent lighting?


[April 2, 2006]

Marc Blitzstein (1905-1964) sang "The Nickel under the Foot" from The Cradle Will Rock at a party for Bertolt Brecht in 1936. Labor Notes features this recording (in RealAudio) as its April "Song of the Month," along with a detailed commentary by Leonard Lehrman. Lehrman also has made available, on his web site, the lyrics to Blitzstein's labor songs (a couple of Blitzstein's own lyrics as well as lyrics he set by Alfred Hayes and Eva Goldbeck).

[April 1, 2006]

[April 1, 2006]

Ian Hamilton Finlay

A Few of the Obituaries
There is also an obituary in today's New York  Times
Some Finlay Works:
"Even- ing Will Come", "Wave Rock", "Homage to Jonathan  Williams";  Little Sparta,  Little Sparta Trust, order/disorder;  note also Finlay feature in Jacket 15

[March 31, 2006]

New at PEPC Library
(this time with a link that works)

Andrew Epstein, "Verse vs. Verse: The Language Poets are taking over the academy. But will success spoil their integrity?" (Lingua Franca, Sept. 2000: 45-54)

[March 28, 2006]

Poetry without Poets


What’s missing from this picture?

On April 4, the Academy of American Poets will launch National Poetry Month, as they have in the past few years, with a program entitled Poetry & The Creative Mind, presented at Lincoln Center. Announced readers are Meryl Streep, Wynton Marsalis, Julia Ormond, Alan Alda, Wendy Whelan, Mike Wallace, Dianne Wiest, Oliver Sacks, Gloria Vanderbilt, William Wegman, and Christopher Durang.

What a brilliant idea! Many involved with trying to do fundraising for poetry have encountered a huge obstacle again and again: poets and poetry. After hours of discussion, we have often realized that if only we were trying to raise money for something else, our silent auctions and cocktail receptions wouldn’t end up losing almost as much money as our book and magazine publications and web sites.

Perhaps the Academy will be starting a trend:

A Rock and Roll Hall of Fame Benefit Reading with Adrienne Rich, John Ashbery, Mike Wallace, and Samuel R. Delany.

A Debutante Costume Ball in Celebration of 300 Years of Jews in New York, featuring Pat Boone singing “Kol Nidre,” the Morman Tabernacle Choir doing “Hatikvah,” and a special appearance by Meryl Streep as Moses.

Actually, the model for this year’s National Poetry Month gala appears to be the Jerry Lewis Labor Day Marathon, which features celebrities on behalf of the MD-afflicted.

But now Jerry Lewis.

There’s a poet.

[March 25, 2006] [unique url for this post]





Window's End




click on poem-window
This poem appears in the new 2005 DC Poetry Anthology

[March 23, 2006]




Tom Raworth on Studio 111

Just up at PennSound: my Studio 111 interview with Tom Raworth, recorded this past Monday, along with a recording of his spectacular Kelly Writers House reading from the same day, which includes "Writing," and "Logbook." While we're at it, we are  in the process of adding to Raworth's PennSound page his reading at the Segue / Bowery Poetry Club on March 11 and his 19991 reading in Buffalo — work on this should be complete by the end of the week.

At Monday's reading, Tom read "Listen Up" (1:25, 1.3 mb) the perfect poem to mark the third anniversary of the invasion of Iraq:

Listen Up
by Tom Raworth
(orignally published in CounterPunch on March 18, 2003)

Why should we listen to Hans Blix
and all those other foreign pricks:
the faggot French who swallow snails
and kiss the cheeks of other males:
the Germans with their Nazi past
and leather pants and cars that last
longer than ours: the ungrateful Chinks
we let make all our clothes; those finks
should back us in whatever task--
we shouldn't even have to ask:
and as for creepy munchkin Putin...
a slimy asshole-- no disputing!?
We saved those Russians from the reds--
they owe support. Those wimpish heads
of tiny states without the power
to have a radio in the shower
should fall in line behind George Bush
and join with him and Blair to push
the sword of truth through Saddam's guts
(no need for any ifs or buts)
we'll even do it without the backing
of UN cowards and their quacking--
remember how we thrashed the Nips
and fried them like potato chips?
God's on our side, he's white and Yankee
he'd drop the bombs, he'd drive a tank: we
know he's stronger than their Allah
as is our righteousness and valor!
We'll clip Mohammed's ears and pecker
And then move on to napalm Mecca.

[March 19, 2006]


[Raymond Federman, "Dada"]

Raymond Federman & Charles Bernstein, "Dada 2," 1996 (MP3)
Based on a poem by Federman (reproduced above)
Digitally edited by Bernstein from the Federman LINEBreak show
0:45: MP3

[March 17, 2006]


The Brooklyn Rail has become the best local newspaper in New York, the closest thing we've had to the 60s-era Village Voice and East Village Other. Yesterday, the Rail launched a new web site, that includes a review of Susan Bee and Miriam Laufer's show by Robert Morgan;"King of Boredom "— Kenny Goldsmith on Jackson Mac Low (and also some Kenny G letters); "Brooklyn Boy Makes Good" — my review of the new collected Charles Reznikoff (expanded from the PW review posted here earlier); Ann Lauterbach's Sept. 11 essay (taken from her recent The Night Sky: Writings on the Poetics of Experience); as well as poems by Amy King and a Jonas Mekas journal. The Rail is published by Phong Bui; Mónica de la Torre is the poetry editor, John Yau is the (new) art editor, Mekas is the film editor, and John Reed is the book editor

[March 16]

- centre international de poésie Marseille - has made available a remarkable set of audio files of poets reading at the center (streaming only, unfortunately), including Anne-Marie Albiach, Eugen Gomringer, Emmanuel Hocquard, Jacques Rouboud. Claude Royet-Journoud, Bernard Noel, Michel Deguy, Bernard Heidseck, Edoardo Sanguineti, Christophe Tarkos, Kati Molnar, Oilvier Cadiot, and Pascal Quignard, with some Americans too.

[March 11, 2006]

Announcement of Frank Davey Conference Open Letter

[March 9, 2006]

In March We Remember
Thoughts About Peace in a Time of War

Wednesday, March 8, 7pm
Cooper Union, New York

An event of contemporary concert music, poetry readings, and visual 
images, sponsored the The Brooklyn Rail and Ensemble Pi.

Free admission / donations welcome.
Participant artists include composers Frederic Rzewski, Elias 
Tanenbaum, composer/performers Kristin Norderval and Philip Wharton 
in collaboration with Ensemble Pi, led by pianist Idith Meshulam.

Poetry readings by Charles Bernstein and Peter Lamborn Wilson, film 
by Carolee Schneemann.

Visual images selected from the archives of the art critic David Levi Strauss.

With showcases of several independent publishers including Seven 
Stories Press, The New Press, Akashic Books, Verso Books, and Autonomedia.

The event is made possible by the support of the Lower Manhattan 
Cultural Council, the Edward T. Cone Foundation, and Cooper Union. 

[March 6, 2004]



Régis Bonvicino, the São Paulo poet, has a new author web site, to supplement the site he created for Sibila, his magazine. Among many other items, there is a series of "Caligramas" by the Argentine artist Léon Ferrari, based on Bonvicino's 33 Poemas (1990).


Bonvicino also reproduces his 1979 visual poem "TÓTEM," which is based on Décio Pignatari's classic 1957 concrete poem, "Beba Coca-Cola":

[March 4, 2006]

An important new addtition to the the poetics of translation:

towards a foreign likeness bent: translation
duration : poetics (book 1), ed. Jerrold Shirmora

a e-book, available as a pdf

Ammiel Alcalay, Politics & Translation
Charles Bernstein, Breaking the Translation Curtain: The Homophonic Sublime
Norma Cole ,Nines and Tens: A Talk on Translation
Marcella Durand, What Makes It New: The Secret Springs of French Poetry
Forrest Gander, Homage to Translation
Bill Marsh, Poetry in Gesturo-Haptic Translation
Sawako Nakayasu, Keeping it Sounding Real (Strange)
Kristin Prevallet, Risking It: Scandals, Teaching, Translation
Ryoko Sekiguchi, Self Translation, or the Artifice of Constraint
Jonathan Skinner, A Note On Trobar Petit Chansonnier: Provenal Lyrics
Rick Snyder, The Politics of Time: New American Versions of Paul Celan
Jalal Toufic: An Interview
Keith Waldrop, Translation as Collaboration
Rosmarie Waldrop, Irreducible Strangeness
Chet Wiener. The Legacy and Future of "Horizontal" and "Vertical" Translation in Contemporary Poetry

[March 2, 2006]



PEPC Library is pleased to announce the web publication of
Susan Howe's
"These Flames and Generosities of the Heart: Emily Dickinson and the The Illogic of Sumptuary Values," from The Birth-Mark: unsettling the wilderness in American literary history (Wesleyan University Press, 1993)


From the new Susan Howe interview in Free Verse:

FV: What do you see as most vital about the state of contemporary American poetry and what do you see as most troubling—if anything?

SH: Despite our prevailing anti-intellectualism I feel part of an innovative tradition among poets that is very much alive and courageously independent, if you consider the political tragedy and corruption of recent years. This tradition is particularly to be found in small presses, because they haven't entered into the capitalist nexus and dare to do the unexpected. In some ways the Internet has made access to cutting edge work easier because it is easier to locate books on line. I don't care if poets have small audience in terms of this culture's insatiable desire for blockbuster ratings or numbers of Internet hits on a title or author's name. Numbers aren't everything. Some powerful work is quiet and at first may even seem to set up defenses against being approached. Maybe in these noisy bloated times poetry on the page doesn't provide the instant emotional immersion and immediacy of films such as Notre Musique. On the other hand, John Ashbery's splendid new collection Where Shall I Wander has recently been published. Elizabeth Willis is fine-tuning Meteoric Flowers for Wesleyan University Press. The Boston Review prints poems in each issue that are far more intellectually ambitious than poetry I read in in The London Review of Books, or the TLS. Flood Editions, an independent press for poetry and short fiction founded in Chicago in 2001, is thriving. In Berkeley SPD continues its important work, distributing independently-published books around the country and the world. The Library of America edition of Wallace Stevens: Collected Poetry and Prose, edited by Frank Kermode and Joan Richardson is here beside me.   By opening it I can rendezvous with my “Interior Paramour.” Through the perfection of sound in his words I approach “those sanctions that are the reasons for his being and for that occasional ecstasy, or ecstatic freedom of the mind that is his special privilege.”


Susan Howe at EPC (recently updated)
Susan Howe at PennSound

[Feb.24, 2006]

Sara Fishko broadcast a short radio essay this morning on WNYC on Artist's Politics, focussing on Elia Kazan and Ezra Pound (including an interview with Richard Schickel). The show is archived on "The Fishko Files" web site. This is the second time I have been on "The Fishko Files"; the first was a show on poetry readings, which included Ann Lauterbach: "Poet's Voices": July 11, 2003 (6:53): mp3.

Leonard Schwartz's Cross-Cultural Poetics has recently archived a recent interview about, and reading from, Shadowtime: part one (28:02), part two (30:07). Also available on Cross-Cultrual Poetics is my 2004 interview on, and reading from, World on Fire: (31:53): MP3 (31MB), RealAudio (17MB).

[Feb. 17, 2006]

poesía actual

From an interview with Romana Freschi , Buenos Aires, June 2005, originally published in Spanish in Plebella, No. 6,  December 2005.

And how do you relate to the fact that shape gets somehow old, inevitably?

I don't have any formula for what poem should be like. You can't say, a priori, what style a poem should have, what voice a poem should channel, whether it should be narrative or not narrative, lyric or not lyric, striated or smooth. It's not possible to prescribe because what's most interesting about poetry is how it responds to emerging circumstance and its local languages, local places; to the most local part of your mind; to the intersection of so many different, not necessarily definable, factors, which are specific for every poet and for every different point in time, and even for yourself as you move through time. So there is that provisionalty, that response to contingent circumstance, that seems to me what's innovative in poetry. Poetic innovation is pragmatic. Innovation is what lets you resolve emerging problems as they pop up, mostly unexpectedly and often unhappily. But better than innovation, call it ingenuity. It's not something rarified or, well, avant-garde. On the contrary, it's the absence of ingenuity that takes poetry out of everday life. Official Verse Culture, for example, in its refusal of new forms of poetry, clings to a past that has already passed by, making poetry something that resembles corpses in a museum. But when we are speaking of innovation, we are speaking of the basic condition of poetry. It comes down to the ability to stay attuned to, to stay in touch with, your responsiveness to the world you find yourself in.           

I'll give you an analogy: When people disparage what they hear as nonsense or meaningless language they say, Oh that's just like children, it’s babble. It sounds as if, somehow, they have left their childhoods behind them. But for me, on the contrary, the people who say that have lost access to the sonic and acoustic potential within language, have lost touch with a part of themselves, and a part of the human world, that stays with us until the time that we die. The poetry of language, let’s call it, is not just for children. The loss, or denial, is not of childhood – we all grow up – but of what even little children know. Blame it in on your education, your rationality, your socialized mind. Maybe what is so frustrating about “difficult” poetry is that it is an unwelcome reminder of the loss of poetry in our everyday lives; the fact that we have too quickly and with too little thought turned the paradise of language into a game of cards. ...

Full interview in The Green Integer Review

[Feb. 17, 2006]


Barbara Guest (1920-2006)

Barbara Guest died last night in Berkeley. I got the news this afternoon from her daughter Hadley. For now, I want to recast some remarks I made on the occasion of Guest receiving the Frost Medal of the Poetry Society of America in 1999:

I want to thank Barbara Guest for a lifetime of poetry for which we, as readers, have been unprepared -- to thank her for continually testing the limits of form and stretching the bounds of beauty, for expanding the imagination and revisioning -- both revisiting and recasting -- the aesthetic. For we are still unprepared for Guest: she has never quite fit our pre-made categories, our expectations, our explanations. She has written her work as the world inscribes itself, processurally, without undue obligation to expectation, and with a constant, even serene, enfolding in which we find ourselves folded.

Guest's work seeks neither recognition nor acknowledgement but that a fair realism may awake in us as we read, inspired not by the author but by the whirls and words and worlds that she has enacted in these numinous works:

The Location of Things (Tibor de Nagy, 1960)
Poems: The Location of Things, Archaics, The Open Skies (Doubleday & Company, 1962)
The Open Skies (1962)
The Blue Stairs (Corinth Books, 1968)
Moscow Mansions
(Viking, 1973)
The Countess from Minneapolis (Burning Deck, 1976)
Seeking Air (Black Sparrow, 1977; reprint, Los Angeles: Sun & Moon Press, 1997)
The Türler Losses (Montréal: Mansfield Book Mart, 1979)
Biography (Burning Deck, 1980)
Quilts (Vehicle Edition, 1981)
Herself Defined: The Poet H. D. and Her World (Doubleday & Company, 1984)
Fair Realism (Sun & Moon Press, 1989)
Defensive Rapture
(Sun & Moon Press, 1993)
Selected Poems (Sun & Moon Press, 1995)
Quill Solitary, Apparition (The Post-Apollo Press, 1996)
Seeking Air (Sun & Moon Press, 1997)
Etruscan Reader VI (with Robin Blaser and Lee Harwood)(1998)
Rocks on a Platter
(Wesleyan, 1999)
If So, Tell Me (Reality Street Editions, UK, 1999)
The Confetti Trees
(Sun & Moon, 1999)
Symbiosis (Berkeley: Kelsey Street Press, 2000)
Miniatures and Other Poems
(Wesleyan University Press, 2002)
Forces of Imagination: Writing on Writing (Kelsey Street Press, 2003)
Durer in the Window: Reflexions on Art (Roof Books, 2003)
The Red Gaze (Wesleyan University Press, 2005)


                          Wings of glass  in high up floating

stave of time, or weight,  ceilingless and

                                               of crystal time
                                          measured, measure of

                                         pulls own weight, and dainty


           plucked instrument, voiceless hum.

                                                       --from If So, Tell Me (1999)

More information on Barbara Guest:
EPC Author Page
Jacket Author Page

[Feb. 16, 2006]

Douglas Messerli has launched a new web bimonthly, The Green Integer Review. The Review features historical and contemporary works with a commitment to the international and translation. Among those featured in the first issue are Elsa von Fretag-Loringhoven, Benjamin Péret, Jean Cocteau, Linh Dinh, and Jacques Roubaud, along with several reviews by Messerli. The Green Integer web site has also added a complete catalog of Green Integer books, an immensely valuable resource.

[Feb. 11, 2006] 

Maggie O'Sullivan has a new web page

featuring the full text of Murmer, "all origins are lonely", own land (from Waterfalls); as well as critical readings and biographical and bibliograpical information.

Maggie O'Sullivan author page
Maggie O'Sullivan @ PennSound

[Feb. 21, 2006]

The new Eoagh Jackson Mac Low issue is out.


[Feb. 19, 2006]


"Seeing Double": paintings by Susan Bee and Miriam Laufer
A.I.R. Gallery Feb. 2006

full info on show

Reina María Rodríguez

La detención del tiempo / Time’s Arrest, tr. Krystan Dykstra (Factory School, 2005); includes an afterword by Robert Tejada, also available at PEPC: "In Relation: The Poetics and Politics of Cuba's Generation-80

Violet Island and Other Poems, tr. Dykstra and Nancy Gates Madsen (Green Integer, 2004)

Reina Maria Rodriguez sings across borders of real bodies and image nations. A critical voice for a poetics of the Americas hundreds of years in the making, Rodriguez's poems  overflow with insistent rhythms of everyday, refracted by a hundred mirrors facing inward, adjacent, beyond; turning on the promise of each next line. This poetry expresses the necessity not of phrase or stanza, not of breath or idea ... but of motion. 


[Feb. 4, 20006]

Poetry and Money

Steve Evans has temporarily made available on-line his stinging discussion of the Ruth Lilly’s hundred-million-dollar gift to Poetry Magazine/The Poetry Foundation: Free (Market) Verse.

The following two letters appeared in the April 21, 2004, letters column of The New York Times, with the headline used above, resonding to a puff (aka "news") article on the bequest.

To the Editor:

A multimillion-dollar gift to the Poetry Foundation (Arts pages, April 19) is good for poetry in the sense that a multimillion-dollar gift to the Heritage Foundation is good for politics. Whose politics? Whose poetry?

New York, April 19, 2004

To the Editor:

Re "A Passion for Poetry (and Profits): Charting a Literary Course With $100 Million" (Arts pages, April 19): As a poet who has benefited during her life from money dispensed by several foundations, I would prefer to live in a society with a progressive tax system, universal health care, adequate housing for people of modest income, a living minimum wage, social security and excellent public education (including the arts).

The selective dispensations of private foundation money can help sustain a few individuals and projects. But finally, the artist must grow, live and work within a society. A more just allocation of the resources of our society would be the true guarantor and benefactor of art.

Santa Cruz, Calif., April 19, 2004

[Feb. 4, 2006]

For Nam June Paik (1932--2006)

Jacob's Ladder

Spent light’s pooled mirror
Wet green in vertical beam
Chill out -- chaos binds

Image: Nam June Paik, Jacob's Ladder — 2000
In collaboration with Norman Ballard / Laser, water, mirrors, steel

[February 2, 2006]



Poem #14 from Reding Red, poems written for a series of 25 paintings by Richard Tuttle and published in 1998 by Walther König (Cologne).

[Feb. 8, 2006]

— —

Thom Donovan reports on the Whitney Museum's poetry reading for Richard Tuttle.

[Feb. 6, 2006]
I Love Poets - Thursday, January 26, 2006 7 pm to 10 pm  

The Whitney Museum of American Art
74th Street & Madison Ave., New York

Readings on the occasion of The Art of Richard Tuttle
Thursday, January 26 7pm

Charles Bernstein
Mei-mei Berssenbrugge
Simon Cutts
Larry Fagin
Thomas McEvilley
Leslie Scalapino
Anne Waldman
John Yau

Jonathan Skinner reading Anne-Marie Albiach
Richard Tuttle reading Barbara Guest

Admission: $8; members, senior citizens, and students with valid ID $6. Advance sales are strongly recommended, as seating is limited. Tickets may be purchased at the Museum Admissions Desk or reserved at (212) 570-7715 or public_programs@whitney.org.

[Jan. 24, 2006]

Richard Foreman's Zomboid: a brief review.

[Jan. 21, 2006]

Sibila, the São Paulo magazine edited by Régis Bonvicino, has a new web site.


Régis Bonvicino is the author of Sky-Eclipse: Selected Poems
Translated from the Portuguese by Michael Palmer, Jennifer Sarah Coper, Scott Bentley, Chris Daniels, Regina Alfarano, Guy Bennett, Charles Perrone, Charles Bernstein, Dana Stevens, John Milton, Robert Creeley and Douglas Messerli & editor, with Michael Palmer and Nelson Ascher, of the bilingual anthology

& editor, with Michael Palmer and Nelson Ascher, of
Nothing the Sun Could Not Explain—20 Contemporary Brazilian Poets
The PIP (Project for Innovative Poetry) Series of World of Poetry of the 20th Century

features a 1998 bilingual reading I did with Régis; we have added links to the blingual texts for a number of the poems, so it is possible to follow along whether or not you know Portuguese.

There is an interview with him at ChicagoPostModernPoetry

My interview with Douglas Messerli, published in English in Jacket, first appeared in Siblia,
as well as a multilingual poem I wrote with Régis as well as an interview in Portuguese.

poster for NY launch; click on image for larger view

[Jan. 17, 2005]

The Romantic Circles Web Site has been putting up mp3s of poets reading poems from the Romantic period. You can hear Johanna Drucker reading Byron, Bill Berkson reading "Ozymandious" and Rae Armanrout reading "To a Skylark," Ken Edwards reading Blake's "London," with many more to come.

The stand-out in this set is Geraldine Monk reading Thomas Lovell Beddoes's "We do lie beneath the grass."

And at PennSound/Classics, among our most downloaded files are David Wallace reading Chaucer and John Richetti reading Swift and Pope.

[Jan. 14, 2006]

M/E /A/N /I/N /G Online

relaunches their two digital editions
#1 Is Resistance Futile? (2002)
#2 Collaborations (2003)
edited by
Susan Bee & Mira Schor
A PEPC Production

New @ M/E /A/N /I/N /G Online

Mira Schor, She Demon Spawn from Hell & The ism that dare not speak its name
Daryl Chin, Letter to the Editors

"At times the debates over feminism and feminist art takes on the characteristics of daytime soap opera, complete with contested inheritances, angry aging divas, and beautiful young women suffering from the convenient onset of amnesia." -- from "She Demon ..."

"She Demon Spawn from Hell," an introduction to the M/E/A/N/I/N/G Online republication of The ism that dare not speak its name, originally published in Documents No. 15 (Spring/summer 1999) is occasioned by performance artist Tamy Ben-Tors anti-feminist performance on  January 7 at the panel Feminisms in Four Generations, moderated by Roberta Smith, with panelists Ben-Tor, Collier Schorr, Barbara Kruger, and Joan Snyder, held at the CUNY Graduate Center in New York City as part of the 5th Annual New York Times Arts and Leisure Weekend.

[Jan. 6/13, 2006]

Poets' Ludicrously Aimless Yearning (PLAY) is pleased to announce:
The Experiments List: 2006
Dispense only as appropriate and under the supervision of an attending reader. Individual experiments are not liable for injury or failure resulting from improper use of appliance. Any profits accrued as a direct or indirect result of the use of these formulas shall be redistributed to the language at large. Management assumes no responsibility for damages that may result consequent to the use of this material in educational institutions or individual writing project.

"Use absolutely no word that contributes to the direct sense of a thing seen." – Hermes Hermeneutic, The Seventeenth Manifesto of Nude Formalism


[Jan. 10, 2006]

[posted December 2005]

Blind Witness News
is being revived in a funny, bouyant production by the Cantiamo Opera Theater as part of their New Works Festival. Two performances left: December 17, 18. It's at the West End Theater at 263 West 86th Street (West End Avenue). Music by Ben Yarmolinsky, libretto by Charles Bernstein, first performed in 1990; this was the first of three Yarmolinksy-Bernstein collaborations. This comic opera follows the structure of an half-hour 11 o'clock newscast. Nathan Resika and Deborah Karpel play anchors Jack James and Jill Johns, Leandra Ramm plays weatherperson Jane Jones, and Aram Tchobanian plays sportscaster John Jacks. Ishmael Wallace accompanies on piano. After an intermission, two other new operas will be presented. Tickets at Theatermania.

This is adapted from the opening of Blind Witness News:

Tonight's top story is war

Holy War in the North
Holy War in the East
Holy War in the West

Victory! Victory!
Soon to be ours!

War, war, holy war
War, war, holy war

Victory! Victory!
Soon to be ours!

War, war, holy war
War, war, holy war

Against the menace foreign
Menace at home
Menace that tears and gnaws
Menace no solace abjures

Except to pluck it out
Except to pluck it out

No means to bail
But tell tale told
Tell again

Outbend the song

Menace inside
Menace that crawls and sprawls
Menace no solace obscures

Except to pluck it out
Except to pluck it out

Outbend the song

Tears and gnaws
Unjarred too long
In wet and tattered fray

Who felt too far, or lay too near
And falling felt astounding blow
'Gainst all that slay
In combat's boulevards

What heart no longer plays
Heart no longer pays

Except to pluck it out
Except to pluck it out
Except to pluck it out

What to us become
Rejoin a polity
No more delayed

No more delayed

Blind Witness News was first presented by American Opera Projects along with "The Funeral of Jan Palach," a short operatic work by Connie Beckley (music) and David Shapiro (words). Allan Kozinn reviewed the pieces in the The New York Times.
1995 LINEbreak radio show with Ben Yarmolinsky


1. Heraklitus [fragments]
2. Plato, Cratylus
3. Lucretius, De Rerum Natura
4. Augustine, Confessions
5. Descartes, Meditations
6. Spinoza, Ethics
7. Leibniz, Monadology
8. Rousseau, Emile
9. Wollstonecraft, A Vindication of the Rights of Women
10. Kierkegaard, Philosophical Fragments
11. Nietzche, The Genealogy of Morals
12. Marx, “The Eighteenth Brumaire of Louis Napoleon”
13. Wilde, The Decay of Lying

1. Adorno, Negative Dialectics
2. Habermas, Knowledge and Human Interest
3. Hillberg, The Destruction of the European Jews
4. Foucault, Power/Knowledge
5. Althusser, "Ideology and Ideological State Apparatuses"
6. Goffman, Frame Analysis
7. Irigaray, This Sex Which Is Not One
8. Benjamin, “Doctrine of the Similar”
9. Cavell, The Senses of Walden
10. Barthes, Writing Degree Zero
11. Wittgenstein, Philosophical Investigations
12. Freud, The Psychopathology of Everyday Life
13. Weil, Gravity and Grace

1. Poe
2. Dickinson
3. Hawthorne
4. Whitman
5. Melville
6. Emerson
7. Thoreau
8. H. James
9. Stein
10. Eliot
11. Pound
12. Williams
13. Stevens

1. The New American Poetry: 1945-1960, ed. Don Allen
2. From the Other Side of the Century: A New American Poetry, 1960-1990, ed. Douglas Messerli; &, also edited by Messleri: Language Poetries: An Anthology
3. Revolution of the Word: A New Gathering of American Avant Garde Poetry 1914- 1945 , ed. Jerome Rothenberg; &, also edited by Rothenberg, Technicians of the Sacred: A Range of Poetries from Africa , America , Asia , Europe and Oceania 4. American Poetry: The Twentieth Century, vols. 1 and 2 ( New York : The Library of America , 2000)
5. In the American Tree: Language, Realism, Poetry, ed. Ron Silliman
6. SHI: A Radical Reading of Chinese Poetry, Yunte Huang
7. Postmodern American Poetry: A Norton Anthology, ed. Paul Hoover
8. Poems for the Millennium: The University of California Books of Modern and Postmodern Poetry , vols. 1 and 2, ed. Jerome Rothenberg and Pierre Joris
9. 500 Years of Latin American Poetry: A Bilingual Anthology, ed. Cecilia Vicuna and Ernesto Grosman (forthcoming)
10. The Random House Book of Twentieth Century French Poetry, ed. Paul Auster; The Yale Anthology of Twentieth-Century French Poetry , ed. Mary Ann Caws
11. Moving Borders: Three Decades of Innovative Writing by Women, ed. Mary Margaret Sloan
12. Out of Everywhere: An Anthology of Contemporary Linguistically Innovative Poetry by Women in North America & the UK , ed. Maggie O’Sullivan
13. Anthology of Twentieth-Century British and Irish Poetry, ed. Keith Tuma & Other: British and Irish Poetry since 1970, ed. Richard Caddel and Peter Quartermain

Two collections I edited: 43 Poets (1984) (boundary 2, 1987) and 99 Poets/1999: An International Poetics Symposium (boundary 2, 1999, available as a book from Duke University Press).

This list was compiled for The Poet's Bookshelf: Contemporary American poets on the Books that Shaped Their Art, ed. Peter Davis (Selman: Ind.: Barnwood Press).

[Jan. 1, 2005]

In the Fall of 2004, George and Mike Kuchar were honored at the New York Film Festival with a screening of their brilliant, funny, and wildy ingenious work. The Kuchars's extemporaneous commentary after the show were both hillarious and inspiring: as good as the best of the films. A few months before, George screened his new video for a small group of us at Mimi Gross's loft. It was made with his students at the San Francisco School of the Arts, based on his screenplay of the previous year, The Kiss of Frankenstein. George filmed this script again the following year. George Kuchar's screenplay for The Kiss of Frankenstein is now available at PEPC.
[Dec. 29, 2005]

Just up on PennSound: MP3s of my 1977 reading at the Place Center, New York; including poems from Shade, Senses of Responsibility, and The Occurrence of Tune. My co-reader for this event was Kathy Acker. Although this reading was listed, with a picture, in the Village Voice (could it be?) "$2.50 and under" listing, there was not a single person at the event that I didn't know.

&, by coincidence, from around the same time, this picture with Nick Piombino — posted yesterday at Fait Accompli:

&, from many years later, now available in an HTML version at PEPC, my collaborative translation, with Nick, of Olivier Cadiot's "An Extraordinary Adventure, Who Is An Adventure Extraordinarie." The translation was first published in Tyuonyi (No. 9/10, 1991), in Tyuonyi: Violence of the White Page, Contemporary French Poetry, ed. Stacy Doris, Phillip Foss, and Emmanuel Hocquard, which is available, in its entirety, in pdf, thanks to Jerrold Shiroma, at Duration Press's superb archive,

[Dec. 28, 2005]  


Send a Comment | Search | ©2006 | EPC Home
Electronic Poetry Center (http://writing.upenn.edu/epc)