Emji Spero, an Oakland-based artist and poet exploring the intersections of writing, book art, installation, and performance, visited Philadelphia and the Kelly Writers House in April 2015 to talk about their book almost any shit will do, which uses found language from mycelial studies, word-replacement, and erasure to map the boundaries of collective engagement.
On March 18, 2015, Canadian poet Rachel Zolf visited Philadelphia and the Kelly Writers House and came into the Wexler Studio to record a conversation with Brian Teare. Zolf and Teare discussed Zolf’s most recent book, Janey’s Arcadia, which Teare described in his introduction to Zolf’s reading at Temple University in November 2014 as a work that “situates us in a Canadian national history in which the ideology of nation building prescribes genocide for indigenous people, and enlists all its settler-subjects in the campaigns of conversion, dislocation, assimilation, and disappearance.” Zolf created a film, a sound performance, and a number of polyvocal actions related to Janey’s Arcadia and has written recently about the “mad affects” generated by the reading/audience event.
The poet and translator Yosuke Tanaka visited Philadelphia and the Kelly Writers House in late 2014. The purpose of his visit was threefold: to join a scientific conference on cell biology; to see the Writers House in person after spending much time there virtually as a participant in the open online course called “ModPo”; and to sit down in the Wexler Studio with Ariel Resnikoff to talk about contemporary Japanese poetry.
PennSound podcast #39 is devoted to Ann Lauterbach — a nine-minute excerpt from a reading she gave at the Kelly Writers House in November of 2013. Allison Harris introduces and hosts. For a full video recording of the reading and/or a full audio recording, see the Kelly Writers House web calendar entry. Charles Bernstein introduced the event, and a few seconds of his remarks can be heard in the podcast.
A few years ago Darren Wershler-Henry visited us from Toronto. His book of 2000, The Tapeworm Foundry, was being celebrated by an exhibit in the KWH gallery ("KWH Arts," we called that ongoing project then — now The Brodsky Gallery). Kaegan Sparks commissioned a number of Writers House-affiliated people each to make art from an instruction of the sort that fills Darren's book. I wrote about this at the time of the exhibit.
One artist dipped her long hair into calligraphy ink and dragged it across long rolls of paper (this is actually a classic Fluxus piece). Another person created an inky footprint and then ran it through an OCR (text-recognition) program and printed the “language” that resulted and put the two up on the wall, side by side. Another pair of artists counted all the periods (at ends of sentences) in all the books on a Writers House bookshelf, then printed out the periods on 8.5 x 11" paper and wrapped the bookshelf in the paper.
While Darren was in the house, I gathered him, Kaegan and Kenny Goldsmith in my office, and the four of us talked about Darren's book and the exhibit, and about conceptual poetics/concrete poetry generally. This is the newest in the series of "PennSound podcasts", and please have a listen.
1. Links to works produced for the exhibit. 2. Video recording of the opening program. 3. Photos of the event. 4. Text of Tapeworm available at UbuWeb.
At left you see Charles Alexander and colleagues working on a publication of Chax Press, which Charles has been directing for the past 27 years. Charles was at the Writers House today, to give a reading and be part of a recording of an episode of PoemTalk. We took a few minutes to talk about letterpresses and other alternative presses--and some important twentieth-century figures in letterpress publishing. This discussion is episode #20 in the PennSound Podcast series.
I produced a new PennSound podcast, the sixth in the series; it presents an overview of PennSound, its mission and its pedagogical assumptions and implications. In discussing how students, teachers and readers can use PennSound's materials, I use as an example Rae Armatrout's poem "The Way," about which I've written in an earlier entry here.
After we put up the Ezra Pound recordings, we got a raving fan note from poet Peter Gizzi (who has his own PennSound author page), and here is what Peter wrote:
I LOVE, I mean LOVE that Pennsound has put up all the Pound material. I have it all in bootlegs and tapes of course but it is wonderful to have it there, finally, I mean it is THE MOST OUT there of anything on that site or ubu web! EP is the best. I used to listen to those tapes over and over in my car in the late 70’s when I was a teenager. To me it was Punk. And hearing it now it brings back summer and my youth! Listening to the Spoleto recording, maybe my fav for its restrained intensity, I am taken aback just how his late syntax has totally effected me. Liz and I were listening and we could hear my poem Homer’s Anger loud and clear for instance. Amazing. And Richard’s head note makes me want to listen further.