Of Jerry’s many works, there is one that in spite of being just a very small fraction of all his books was key for my own experience as a reader.
Anthologies are, with different degrees of intensity, the creation of a new field made out of preexisting elements; for the most part they define anew what was there before. Only once in a while an anthology can change not only what we know about poetry but the way we read beyond its own selection. Technicians of the Sacred: A Range of Poetries from Africa, America, Europe & Asia is that occurrence, a turning point that made visible what wasn’t before. Even more than an anthology it’s the blue print for a strategy, one that works his complexity up from multiple poetics to present at the same time, and without ever taking them apart, the particular and the whole.
Jorge Santiago Perednik (1952-2011) was born in Buenos Aires, Argentina. An influential poet and literary critic, he was also a publisher and a translator of English and American poetry. He founded several literary journals, two of the most influential being XUL and Deriva. The former was an important poetry journal that started publishing during Argentina’s last military dictatorship in 1980; it continued until 1997 with the printing of its 12th issue. As a journal, XUL provided regular compilations of some the most innovative poetry of its time. The journal was also one of Argentina’s best sources of new critical writing. It was dedicated to publishing the most diverse poetics within the experimental tradition. Perednik's work as a poet and editor reflected his interest in many of the poetics included in the journal: visual poetry; John Cage’s mesostics; sound and performative texts--along with the most serious experimental works in Spanish American poetry. Perednik’s writing was primarily associated with his always expanding interest in exploring language and its relation to poetry rather than with any particular literary school.