Commentaries

Twentieth Anniversary Celebration of the EPC: audio recordings from PennSound

Willis, cheek, Kim, Retallack, Snelson, Vicuna, Glazier, Bernstein

Charles Bernstein, cris cheek, Tony Conrad, Loss Pequeño Glazier, Steve McCaffery, Myung Mi Kim,  Joan Retallack, Laura Shackelford, Danny Snelson,  Elizabeth Willis, & Wooden Cities with Ethan Hayden. 

Ian & Me: A Collaboration

Ian Tyson, “Three Friendly Warnings,” Realization from the Seneca Indian with Ri
Ian Tyson, “Three Friendly Warnings,” Realization from the Seneca Indian with Richard Johnny John & Jerome Rothenberg

I have tried an altenstil
& dropped it.

– J.R., A Book of Witness, 2003

Downtown Eastside poets: Bud Osborn

Osborn at the 10th Anniversary of Insite, Vancouver's legal safe injection site
Osborn at the 10th Anniversary of Insite, Vancouver's legal safe injection site

Bud Osborn was a poet and social justice activist much beloved in the Downtown Eastside. His death in May this year is loss to the community. Osborn was a founding member of the Vancouver Area Network of Drug Users (VANDU), a collective advocating for harm reduction policies in the City.

For David Meltzer, an Old Pre-Face for a New Publication

[Having written it  originally for David’s Copy: Selected Poems (Penguin Books, 2005), I reprint my pre-face here in celebration of the republication by City Lights Books of his classic poetics primer, Two Way Mirror, concerning which I wrote more recently: David Meltzer had set out, when he was very young, to write a long poem called The History of Everything, an ambition that his later poetry brought ever closer to fulfillment.  Here, i

Witness Adrian Piper and Edgar Heap of Birds

Two lines taken

Edgar Heap of Birds, Native Hosts (2008)

In this commentary, I want to contrast two artists’ visual prosody. In previous commentaries I have paired an artist and a poet. In this case, both of the writers are artists and have practically never been called poets. Here I am interested in setting Adrian Piper and Hock-E-Aye-Vi Edgar Heap of Birds side by side, and as an heuristic, specifically, two pieces: Piper’s Concrete Infinity 6” Square (1968) and Heap of Birds’ Vacant (1995). My excuse for pairing these examples is not art- or literary-historical so much as it is guided by the motif of a “derelict void.”