solarpoetics

Rochelle Owens: 'Solarpoetics' from a work in progress

Jerome Rothenberg

Wyh do we udnersntad a txet eevn fi the letetrs

aer in dsiordre

The letter A

like a membrane

melliferous the animal flesh

Recently in Jacket2

Pitch of Poetry

Charles Bernstein

University of Chicago Press, Spring 2016 (352 pages | 6 x 9)

Praised in recent years as a “calculating, improvisatory, essential poet” by Daisy Fried in the New York Times, Charles Bernstein is a leading voice in American literary theory. Pitch of Poetry is his irreverent guide to modernist and contemporary poetics.

A quiver of chapbooks

A review of 'New-Generation African Poets'

Nathan Suhr-Sytsma

This chapbook box set is the third in an annual series, first published in 2014 by Slapering Hol Press and taken on by Akashic Books as of 2015. The box sets are a project of the African Book Poetry Fund, which also supports an impressive constellation of poetry prizes, poetry libraries in African cities, and book publishing — full-length collections by new poets, as well as collected or new and selected works by such major African poets as Ama Ata Aidoo, the late Kofi Awoonor, and Gabriel Okara. Having titled the first two sets Seven New Generation African Poets and Eight New-Generation African Poets, coeditors Kwame Dawes and Chris Abani were forced by the fact that this third iteration also features eight poets to settle the issue of naming. As Dawes puts it, “By tagging on to our new title the word tatu, a Swahili word denoting the number three, we are codifying our faith and confidence that this is truly a series.”[1] Indeed, the most recent set — Nne or four — was released this past April with ten more chapbooks, although they will have to await a future review. Each chapbook in the Tatu set bears a preface by an established poet, and each bears cover art by Victor Ehikhamenor, a Nigerian artist and writer who is currently exhibiting at the Venice Biennale and is increasingly in demand as a cover artist. While the box set is thus a quiver of gorgeous physical objects, the poetry itself is just as arresting as Ehikhamenor’s designs.

Music for the ecoelegaic

Cecily Nicholson's 'Wayside Sang'

Stephen Collis

Cecily Nicholson’s poetry expresses a deep solidarity extended across time and space, and across divisions between the human and nonhuman, animate and inanimate. As I try to prise apart what the term “biotariat” might be made to mean, I find poetry instructive because of its willingness to attend to just such “crossings” and movements amongst and between language’s subjects and objects — to, literally, lay them out on the paratactic page. For a diasporic poet like Nicholson this has something to do with “blackness” — I have in mind Fred Moten’s comment (from In the Break) that “the history of blackness is testament to the fact that objects can and do resist.” Everywhere in her poetry Nicholson is concerned with the resistance of “objects” — of those who have been rendered (reduced to) “objects” through regimes of racialized violence and colonization, and the fluid affinities the variously objectified find and found.