Charles Bernstein

A PoemTalk retrospective (PoemTalk #100)

PoemTalkers each respond to two episodes

From left to right: William J. Harris, Tracie Morris, erica kaufman, Steve McLaughlin, Herman Beavers, Maria Damon, and Charles Bernstein.

LISTEN TO THE SHOW

To celebrate the one hundredth episode of PoemTalk — the series began in 2007 and is ongoing — producer and host Al Filreis convened seven poet-critics who had participated in previous episodes: Herman Beavers, Maria Damon, William J. Harris, erica kaufman, Tracie Morris, Steve McLaughlin, and Charles Bernstein. These seven were asked to listen again to the series and choose two episodes that in particular stimulated new thinking or the desire to revise, restate, reaffirm, assess, and/or commend.

Janus Pannonius Grand Prize for Poetry to Charles Bernstein and Giuseppe Conte

The 2015 Janus Pannonius Grand Prize for Poetry has been awarded to Charles Bernstein and  Giuseppe Conte. The prize was founded in 2012 by the Hungarian PEN Club (an affiliate of International PEN). In 2014, Yves Bonnefois (France) and Adonis (Syria) won the prize, which is modelled on the Nobel Prize for Literature. In 2013 the prize went to Simin Behbahani (Iran). The prize was announced on the Janus Pannonius web page.  The web page includes an  English pdf about the prize.

An English translation of the laudation (presentaton speech) by Enikő Bollobás is here.; the full essay from which the speech is excerpted is here. Pictures of the ceremony and reaidng are here.

 

Susan Stewart and Charles Bernstein at Bowery Poetry June 7, 2015

Fantasy Reading No. 9

Susan Stewart:

Uses of the useless

Against the division of poetry and scholarship

Photo courtesy of Benjamin Burrill.

Contemporary so-called “innovative” or “experimental” poetry’s fascination and engagement with the theoretical and the critical owes a lot to the Language poets, who, though not the first to approach the composition of poetry as an intellectual enterprise, did offer what Marjorie Perloff characterizes as a “rapprochement between poetry and theory” that could serve as an alternative to the increasingly anti-intellectual creative writing classroom of the 1970s.

'Patterns / Contexts / Time': A symposium on Contemporary Poetry, ed. Phillip Foss and Charles Bernstein (1990)

Free pdf

Twenty-five years ago Phillip Foss and I edited this issues Tyuonyi (6/7 1990), now available from the EPC Digital Library as a free pdf.  (236pp.)  

Phil introduced the issue this way:
This issue of Tyuonyi, Patterns / Contexts / Time: A Symposium on Contemporary Poetry, exists because of collective desire. Ninety-seven poets from the United States, Canada, New Zealand, England, and Australia felt the desire to respond. Their responses were to a series of questions devised by Charles Bernstein and myself. The questions were designed to be inclusive enough to address the issues which engaged us, but vague enough not to restrict the potential responses of the respondents. We wanted to create a forum wherein the real issues that compelled poets could be addressed without a felt adherence to any presuppositions. The volume of response was very gratifying and the range of response far beyond my expectation. 

THE QUESTIONS:
•What patterns, if any, do you see developing that are presently influencing habits of reading or readership within poetry?
•What are the values or limitations of these developing, or undeveloped, patterns?
•What context, if any, do you see your work as part of?
•What context, if any, do you see for the work of those contemporary poets whom you find most interesting?
•What's the most disturbing (or irritating) thing associated with poetry or your work as a poet?
•What sources do you find most useful in keeping informed about contemporary poetry?
•Do universities play any role for you in terms of your work as a poet?
•Do you ever think about what you will be doing in ten years? What? etc etc.

Bright arrogance #5

'Extraordinary experience will not be locatable'

Detail of Clark Lunberry's "Bodies of Water: Somebody—Nobody"

Emily Dickinson’s poetry is perhaps the closest thing canonical American literature has to a “sacred language.” In Robert Duncan’s lectures on Dickinson, we could say that he posits her as the ultimate untranslatable poet, even within her own language. In her poems she “bring[s] us to the line where everything is so fraught with meaning that we can’t find the meaning.”  

Close listening with Keith Waldrop, 2009

Keith Waldrop reads at the Kelly Writers House, 2009.

Editorial note: The following has been adapted from a Close Listening conversation recorded November 5, 2009, at the Kelly Writers House for PennSound and Art International Radio. Keith Waldrop was born in Kansas and attended a fundamentalist high school in South Carolina. His pre-med studies were interrupted when he was drafted to be an army engineer.

Can poetry have a socio-political impact?

Image of Occupy Poetry logo.

While Auden famously wrote that “poetry makes nothing happen,” he offers a clarification: “it survives / A way of happening, a mouth.” It is one of the most basic questions in our field, and one that I often hear from students: does poetry matter, and, if so, how? Certainly poetry’s ability to “matter” does not rest on socio-political impact alone. Nevertheless, the question of poetry’s significance alludes to a long debate: is poetry always about poetry — l'art pour l'art — or does poetry serve a societal function. Put in Auden’s terms, what happens when we read or write poetry? — Katie L. Price 

Respondents: Brian Ang, Charles Bernstein, Michael HelsemRachel Zolf

A response by Brian Ang

Poetry can have a sociopolitical impact through how it constitutes communities toward forms of struggle adequate to acting on historical conditions. Within historical conditions, the totality of poetry’s social networks breaks down into overlapping communities defined by common aesthetic and political values, an expression of struggles within and between communities over those values.

Witness my own

Forget gadget

What is a prosodic device?

In 1970, Hannah Weiner exhibited a telegram in Oberlin College’s conceptual art survey Art in the Mind. After the “mail strike,” her letter to Virginian Dwan was delivered to the gallerist (page one and page two). In it Weiner complains that Vito Acconci’s telegram-piece should be exhibited in Language IV along with Walter DeMaria’s telegram, arguing that the medium was immaterial, and that the artwork, in either case, consists in its sphere of reference. So that there could be no redundancy involved. She cites her piece at Oberlin.

But she might have also claimed more significance for the telegram. A primitive speech-to-text technology, it is a phonic ticker, defamiliarizing the otherwise imperceptible but crucial transfiguration that takes place between sound-image and thought.

Nina Zivancevic's 1983 interview with Charles Bernstein and Douglas Messerli, with a new postscript by Messerli

audio and text

Howard Fox, Charles Bernstein, Douglas Messerli, Doug Lang (r to l)

This interview was first publlished in the Belgrade literary magazine, Knjizevnost, and  in Sagetrieb's  Winter 1984 issue (Vol. 3, no. 3, pp. 63-78).

The undedited audio of the original interview,  from  November 5, 1983,  is avaialbe on PennSound:
(2 hrs, 18min):
MP3

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