Andrew Demirjian participated in ModPo during the fall of 2013. “As I was reading the poems and watching/listening to the videos,” he wrote me recently, "I was working on two pieces as a creative response to the course.” One of those pieces is entitled “Amiri Baraka A-Z.” It is an alphabetical vocabulary for Baraka, consisting of word-length clips drawn from PennSound’s Baraka recordings, each embedded under a letter of the alphabet. Click on a letter — or touch a letter on the iPad — and Baraka’s voice performs single words beginning with that letter. Once you start the web-installation poem, it will continue; you can stay with a letter, or move around and spell out your own performative vocabulary.
Some of our respondents have objected that the preceding post on the self-abolition of the poet assumes, wrongly, an essential link between the poetry and literacy. This is a good point, and one we had intended to address eventually. Oral poetry has, it’s true, existed alongside and inside literate poetry for thousands of years, and there is every indication that poetry — defined broadly as the patterning of speech — is a primordial set of mnemonic techniques that cultures have used to transmit and conserve important information since long before the advent of writing.But the point of the earlier post was to demonstrate that the emergence of poets and poems — particular authors attached to particular written creations — was a product of literate class societies, societies with a complex division of labor, with something like a state and with a division between commoners and elites. We’re going to stand firm on this point, with the added complication that, in many cases, the poetry that played the role of glorifying, consecrating and mythologizing such class societies was also oral (see, for instance, the Bardic tradition). In this regard, the presence or absence of writing is not really determinative it’s merely an index.
Red Shout! was a month long, four-part reading series held each Friday night as part of the LA Liberation School. But Red Shout! was, properly speaking, also just a part of the day, the conclusion of the Liberation school week, so to speak. Red Shout! took shape, then, in the context of a set of practices that diverged from those of the bookstore, gallery, and house reading series.
The LA Liberation School was/is a free university project that ran formally for the month of July 2013 in a live/work warehouse on the border of East and South Los Angeles. It has since transformed into a loose network of reading groups and organizing meetings held in various locations (I have since been away from Los Angeles and so have not been able to participate). Those who facilitated the School's operations tried to create a space that would escape the segregation that characterizes other public education projects and to create material practices to hold better space for thinking.
Richard Hyland, Distinguished Professor, Rutgers Law School, Camden, New Jersey, has compiled the fullest account of the sources of a Charles Reznikoff poem, together with a detailed commentary on the Amelia Kirwan case and the poem Reznikoff wrote based on this case. Many of Reznikoff's poems, especially those in Testimony, are based on legal records. But there has been little research on the exact relationship between the legal record and the poem, with the general assumption that Reznikoff used only language from the legal records, cutting away but not adding any of his own words. The key to Reznikoff's aesthetic is his selection and condensation of the source materials.
Surely Reznikoff is a paradigmatic poet for all documentary and source-based poetry of the 20th century and exemplary for many of us who use appropriated or found material in our work.
Ronald Paulson's The Art of Riot in England and America is a small, thin book. Its concerns are mainly with art, with nineteenth century pictorial representations of riot. In it Paulson attempts a taxonomy of riot so as to understand its festivities, its seditions.
I have read Paulson’s book several times in the last few years. At moments frustrated with how it seems too ecumenical. At other moments frustrated because when it gets to the literature his examples feel a little tired (and so male): Norman Mailer, Nathanael West, George Romero, etc.