[from the back cover of the 1991 Sun & Moon book]
Charles Bernstein is, simply put, one of the most influential and widely read poets of our age. One of the true masters of irony in poetry, Bernstein manages to also infuse each poem with an affirmative vision which verges on the utopian.
Bernstein is a poet of language, in the fullest sense of that word, a poet who "want[s] no paradise, only to be / drenched in downpour of words ..." In Rough Trades, language is taken in every direction possible, from the straght lines of jokes filled with pregnant pauses (George Burns) to the paratactic lines of a Hennie Youngman, and from the lines of Maoist thought to the lines of ladies's dresses which his father pushed — not downstairs in the stree but upstairs in a factory as the head of a dressmaking company. These lines of language, of thinking, intersect, dissect, converge, and emerge again as new ideas and emotions, hit and bounce and point and disappear over the horizon, only to reappear from the periphery.
[from the backmatter of 1991 Sun & Moon book]
CHARLES BERNSTEIN
Born
in 1950 in New York City, Charles Bernstein received
an undergraduate education
at Harvard University. After
graduating, he lived in Vancouver,
British Columbia and Santa
Barbara, where he worked as
a technical editor, before returning
to New York City. In 1977 he
married painter Susan Bee, his
editorial and artistic collaborator.
His
first book publication, Parsing, appeared in 1976. In
1978
he began editing, with Bruce
Andrews, the influential crticial
journal, L=A=N=G=U=A=G=E.
The title of this journal
quickly becamse a descriptive
term to characterize a wide range
of American poets whose work,
discussed in the journal, focuses
on language itself—how language
means, how it is structured,
how it sounds, and how it looks
on the page. Not all of these
poets share the same aesthetic,
but the term, Language
poets—for better or worse—stuck
and came to be recognized as
a major force in American poetics
from the 1970s to the present.
The
same year, Sun & Moon Press, in its first book
publication, published Bernsteins Shade, a work that came to
characterize his early writing,
made of basically short lines that
each recontextualize and transform
the meaning of the previous
and the next. The poetry that
results is a work of jumps, leaps,
fissures, breaks, and other
disjunctive devices that also function
together to create a meaningful,
and often lyrical, whole.
Two
short works, Poetic Justice and Senses of Responsibility,
appeared in 1979, and Bernsteins
first collection, Controlling
Interests, was published
the following year in 1980. This book
received international critical
acclaim and established Bernsteins
poetic reputation, which
was further solidified with the
publication of Islets/Irritations
in 1983 and with a substantial book
of essays in 1985, Contents
Dream.
The
Sophist, published in 1987, further extended Bernsteins
range, making even more apparent
his comic genius and his
fascination with pairing radically
different syntactical patterns of
language with the same poem
and volume.
Artifice
of Absorption (1987) gave further evidence of
Bernsteins critical persepicaciousness.
His other books include
Disfrutes (1981), The
Occurrence of Time (1981, a collaboration with
Susan Bee), Stigma (1981),
Resistance (1983), and the Nude
Formalism (1989, again in collaboration
with Susan Bee).
Bernstein has also translated
and edited several periodical
anthologies of contemporary
poets.
In
1990 Bernstein was appointed to the David Gray Chair at
the State University of New
York, Buffalo.
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