I had already started writing my first commentary for Jacket2. But then I had to begin again.
Earlier today I learnt of the passing of a great poet and a friend: Arkadii Dragomoshchenko.
I discovered on the weekend that Arkadii was seriously unwell. As a result, I dedicated the launch party for my book A Common Strangeness that we held in Dunedin, New Zealand, on Monday to him. As part of the launch, the New Zealand poet Cilla McQueen read the first part of his long poem “A Nasturtium as Reality” alongside her own poem “Photon.” It was just the latest in a long line of cross-cultural encounters generated by Arkadii’s work.
Alan Thomas, our University of Chicago editor took this picture at the book launch, in Los Angeles, for Antin's essay collection, Marjoire Perloff's Unoriginal Genius and my Attack of the Difficult Poems: Essays and Inventions.
For our 50th episode, Charles Bernstein, Michael Hennessey, and Marjorie Perloff gathered at the Kelly Writers House to talk about Tom Raworth’s poem, “Errory.” The poem was published in Clean & Well Lit in 1996, and has been reprinted in the Carcanet PressCollected Poems (2003). Our recording of “Errory” comes from audio material produced in 2004 by the Contemporary Poetics Research Center (CPRC) at Birkbeck College of the University of London, and we thank Colin Still for making these recordings available to PennSound.
Here is the CPRC/PennSound recording of Raworth performing “Errory,” at somewhat more than his usual breakneck speed. Listen to “Out of a Sudden,” for instance — from the same recording session — and you'll notice a more deliberate pace.
Marjorie Perloff visited the Kelly Writers House in Philadelphia for most of four days this week – as a Kelly Writers House Fellow. For three hours on Monday, she met with 21 undergraduates in the so-called Writers House Fellows Seminar; they had read and discussed her writings for the previous five weeks. That evening – April 25, 2011 – she gave a 55-minute talk that, in part, offered the full context for Marcel Duchamp's attempt to exhibit his pseudonymous readymade, "Fountain" (1917).
Reading it now, the article seems a yawn - obvious, innocuous. Was it only eight years ago that the availability of poetry on the web was deemed innovative? (My own poetry site was created in '94. It's a grandpa.) Zoe Ingalls wrote a piece for the Chronicle of Higher Education on the Electronic Poetry Center, with glancing looks at the digital poetry archives of the Writers House (including webcasts) and my online poetry course materials at Penn, and several other repositories of the time. I found a copy of this article yesterday while rooting through old files, and am pleased to make it available here.