Rachel Blau DuPlessis

Girl head mostly eyes (PoemTalk #67)

Catherine Wagner, 'This Is a Fucking Poem'

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Rae Armantrout, Laura Elrick, and Rachel Blau DuPlessis joined PoemTalk’s producer and host Al Filreis to talk about Catherine Wagner’s “This Is a Fucking Poem.” The text of the poem is most readily available in Wagner’s book My New Job (Fence Books, 2011). It was previously collected in a chapbook, Hole in the Ground, published by Slack Buddha Press of Oxford, Ohio, in 2008 (5 1/2" x 8 1/2", 28 pages). The Hole in the Ground poems form a sequence, even beginning with a poem setting out “The Argument.”

The day pours out space (PoemTalk #65)

Lisa Robertson, 'The Weather' ('Monday')

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In October of 2000, Lisa Robertson presented along with Steve McCaffery at the seventeenth episode of PhillyTalks. She read from a then-new work, The Weather, just a few months before the book’s publication by New Star in Vancouver (2001). Here are the segments from that 2000 reading: “Monday” (2:10): MP3; “Tuesday” (7:06): MP3; “Wednesday” (2:14): MP3; “Thursday” (6:38): MP3; “Friday” (9:16): MP3; “Saturday” (4:02): MP3.  The book-length project, organized as such by days of a/the/every week, was in part stimulated by the poet-researcher’s experience during a six-month Judith E. Wilson Visiting Fellowship at Cambridge University: as a non-local, she found herself listening to late-night weather and shipping reports on the British radio, discerning there and elsewhere a specifically localized language that seemed abstract and was yet radically precise.<--break- />

Frost's poetics and the mending wall

A debate continues

Screenshot of the ModPo "Mending Wall" live webcast, October 11, 2012. From left to right: Taije Silverman, John Timpane, Al Filreis (moderator), Rachel Blau DuPlessis, Bob Perelman.

One October 11, 2012, I hosted a debate on Robert Frost’s “Mending Wall.” Well, not quite a debate, but I knew that I, sitting in the middle of four poets, would be on the fence, as it were, with two on a side.  The live webcast, hosted by the Kelly Writers House, was associated with the 36,000-person free online course "ModPo," and was viewed synchronously by dozens in the room with us and thousands watching digitally around the world. We made a recording immediately afterward, and have posted it to YouTube here (1 hour, 9 minutes). (And here is a recording of Frost performing the poem. We began our discussion by listening to it; the performance is certainly important to at least the beginning of the debate.)

The differences between the sides, two versus two, didn't really emerge until the end of a fascinating discussion, but they did indeed emerge, Rachel Blau DuPlessis first finally expressing concerns about the attitude of the poem’s speaker, then Bob Perelman joining the view, pointedly. To be sure, all four poets — Bob, Rachel, and John Timpane and Taije Silverman — spent much of the time assembling a full close formal (and meta-poetic) reading of the poem. Its thematics — and politics — derived, as is apt, from the poem's quality as itself an instance in form of the speaker's impulse to have and also to keep apart from the stilled human object of his beautiful but empty annual cultural rite. Later John Timpane thought some more about his own position on the poem’s speaker; I'm pleased that he has given me permission to publish his statement here.

Modern and Contemporary Poetry and Poetics series at Palgrave, ed. Rachel Blau DuPlessis

This series promotes and pursues topics in the burgeoning field of 20th and 21st century poetics. Critical and scholarly work on poetry and poetics of interest to the series includes social location in its relationships to subjectivity, to the construction of authorship, to oeuvres, and to careers; poetic reception and dissemination (groups, movements, formations, institutions); the intersection of poetry and theory; questions about language, poetic authority, and the goals of writing; claims in poetics, impacts of social life, and the dynamics of the poetic career as these are staged and debated by poets and inside poems. Topics that are bibliographic, pedagogic, that concern the social field of poetry, and reflect on the history of poetry studies are valued as well. This series will allow Palgrave to focus both on individual poets and texts and on larger movements, poetic institutions, and questions about poetic authority, social identifications, and aesthetics.

Jacket 27 feature: Anne Waldman

Edited by Alan Gilbert and Daron Mueller

Anne Waldman, Berlin 2002 -- Photo by John Tranter
Anne Waldman, Berlin 2002 -- Photo by John Tranter

[»»] Introduction: by Alan Gilbert and Daron Mueller
From the Introduction:
The essays included in this Anne Waldman feature were selected from presentations given at a symposium honoring the University of Michigan Special Collections Library’s acquisition of Anne Waldman’s archive. Entitled “Makeup on Empty Space: A Celebration of Anne Waldman,” the symposium was held at the University of Michigan from March 13–15, 2002. It included over twenty poets, scholars, publishers, and artists participating in both panels and poetry readings. Andrei Codrescu’s “Who’s Afraid of Anne Waldman?” served as the keynote speech for the symposium.
[»»] Maria Damon: Making the World Safe for Poetry (or, How Is Anne Waldman Different from Woodrow Wilson?)
[»»] Rachel Blau DuPlessis: Anne Waldman: Standing Corporeally in One’s Time
[»»] Alan Gilbert: Anne Waldman Changing the Frequency

St Mark's Talks (1985)

Erica Hunt, Bruce Boone, Peter Inman, Jackson Mac Low, David Antin, Barbara Guest, Lorenzo Thomas, Steve McCaffery, Kathleen Fraser, Rachel Blau DuPlessis, Nathaniel Mackey, Ron Silliman, Bob Perelman, Anne Waldman, Nick Piombino

In 1985, Eileen Myles was the new director of the St. Mark's Poetry Project in New York. She asked me to curate a lecture series, the first such program at the church. I modelled the series at the Poetry Project on my earlier series New York Talk, giving it the amusing title, given the sometimes seeming resistance to poetics at the St. Marks at the time, St. Marks Talks. And talk it did.

The value of a pronoun (PoemTalk #54)

Ron Silliman, 'You'

Ron Silliman, visiting the kitchen of the Kelly Writers House, wears Phillies red.

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It’s 1995. January 1. Ron Silliman, who had carefully planned this daily yearlong writing project, begins to write the first of what will be fifty-two sections of a series going under the title “You.”<--break-> He worries about the war in Chechnya, and writes a sentence on that, and about acid rain, and that gets a sentence. He remembers his dreams. He overhears intellectual coffeeshop talk. It’s cold outside.

This would be the twenty-fifth book of The Alphabet; in the Alabama edition of that major assemblage, twenty-five years in the making, “You” begins on page 903, a long way in. Fifty-two sections, one for every week of 1995, each consisting of seven daily prose paragraphs, typically one, two, or three sentences each day. You write what you see, what you overhear, what news local (floods) or world (wars) occurs to you or impresses you, what you remember, what you know or think you know during these days. In one “You” is the diary in New Sentences of a year.

The value of a pronoun (PoemTalk #54)

Ron Silliman, "You"

Ron Silliman, visiting the kitchen of the Kelly Writers House, wears Phillies red.

LISTEN TO THE SHOW

It’s 1995. January 1. Ron Silliman, who had carefully planned this daily yearlong writing project, begins to write the first of what will be fifty-two sections of a series going under the title “You.”

New Objectivisms conference in Rome

International Symposium organised by Cristina GIORCELLI, Luigi MAGNO
Centro di Studi italo-francesiSala Capizucchipiazza di Campitelli, 3 – Roma
17-18 MAY 2012

Begin anywhere

The Short Takes on Long Poems symposium

Robert Sullivan & John Adams read in Old Government House, Auckland

I'm taking the beach-poem at its word, and beginning anywhere.

Oneroa Beach Poem

In my case, since I’m just back from the Short Takes on Long Poems symposium at the University of Auckland, I thought I might start there.

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