Rae Armantrout

PennSound pedagogy

Al Filreis draws poetic connections

Emily Dickinson and Rae Armantrout

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When Al Filreis and Charles Bernstein founded PennSound in 2003, one of their impetuses was purely pedagogical. They wanted to make a digital audio archive of free, downloadable files of poets reading their own work and of discussions about poetics available to teachers and learners looking to parse out poetic lineages and differences.

As Al Filreis explains in this 2007 podcast, PennSound is an archive for those seeking to make aesthetic connections between different poetic trends: a site of convergence for the reader (in this case, listener) and the poetic tradition. This makes PennSound a particularly useful resourse for teachers who are looking to demonstrate to their students the relationships between contemporary poetry and earlier poetic movements.<--break->

TLS on Susan Howe and Rae Armantrout

David Wheatley, Nobody can bear to watch

TLS
23 September 2011

Susan Howe THAT THIS 112pp. New Directions
Rae Armantrout MONEY SHOT 92pp. Wesleyan University Press

Rae: Making It New

Rae Armantrout,, video portrait


Rae had come to read at the Kelly Writers House. Along the way she read "Make It New," from Next Life.

A few good words (PoemTalk #29)

Kit Robinson, 'Return on Word'

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Our poem is Kit Robinson’s “Return on Word,” collected in Robinson’s 2002 book, The Crave, which was published by Lyn Hejinian and Travis Ortiz at Atelos Press. 

Rae Armantrout was in from San Diego and joined Linh DinhTom Devaney and host Al Filreis for our conversation this time. At turns the group interprets the poem as a satirization of the referentially super-confident language of marking; as a critique of Language poetry (an aesthetic gathering with which Robinson has long been identified); as an expression of skepticism about the monetization and militarization of American rhetoric. Linh wishes Robinson had pushed the poem’s anti-marketing tendencies a bit further. Rae, who is a fan of Mad Men and herself knows a thing or two about poetically torquing flattened idiomatic speech, admires the way “all we need is a few good words” plays upon military linguistic merchandizing. Tom is positively devastated by the notion that thought might take “a contract out on” words.

Finally, the group agreed that the poem is about words’ value, seen through the dystopia of their devaluation at the hands of economic sectors in which referential certainty is guaranteed to get carried away – in which a good (profitable) year is anticipated by, maybe even determined by, the right people in the room thinking up just the right dead language for the moment.

Grease is the word (PoemTalk #8)

Rae Armantrout, 'The Way'

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This time the PoemTalkers were Ron Silliman, Rachel Blau DuPlessis and Charles Bernstein, and our poem was Rae Armantrout’s “The Way.” Charles had already spoken with Rae about this poem briefly during their interview in the Close Listening series, so we went into our convo knowing that Rae sees the poem as having two compositional parts—a first part consisting of found phrases, items from the poet’s notebook of linguistic observations, a collage of voices, no fixed I. “I am here” is Jesus revealed to you in a pew, but I is also a poem’s prospective speaker: someone saying something tautological. Where else would you be, at the moment, than here? The second half, again according to the poet—revealingly or not—is a quasi-personal recollection: being read to as a child, getting lost in a story and thus feeling “abandoned” by the mother who gave her the gift of books. Gretel-like, does she “come upon” these trees, this wood, each time diving into the wreck of each new now-nonnarrative venture? The most relevant of such ventures being...this poem itself? Who is lost in it? Have we lost the poem’s speaker, only to come upon her again (and again)?

Charles chants lyrics from Grease: Grease is the way I am feeling. Rachel reminds us that “I am here” can also read as “Kilroy was here” does — a marker left by someone who came randomly before. Ron helps us focus on the ending: a grand vision expected, a definitive something, the light coming down through the trees, and what we get is…“again.” The sort of thing that keeps happening over and over. “Once” (as in “once upon a time”) in “once again” (the fairy tale’s synchronicity).

PennSound pedagogy podcast

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.

There's plenty more praise where that came from.

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