Commentaries

Dead air

Sinéad Morrissey's "Through the Square Window"

Fernand Braudel is a historian of globalization who works within and against a tradition of geography as the science of colonial and state power. Volume 1 of Braudel's The Mediterranean and the Mediterranean World in the Age of Philip II, first published in 1949, begins, in a deliberate gesture of departure, not with the eponymous sea and the plains around it but with the snow on the mountains. "Here we are far from the Mediterranean where orange trees blossom" (27), he writes, conjuring the tropes and conventions of "landscapism" in history as much as in poetry.

First reading of Cecil Taylor's '#6.56' (3)

Tstsi Jaji

Here I attempt to transcribe my initial impressions after listening once to the full album of Cecil Taylor’s recorded poem, Chinampas, and repeatedly (for perhaps nine or ten hearings) to the penultimate track, #6.56. I was drawn to the editors’ invitation to show the “under the hood” work that precedes a smoothly running piece of writing, their interest in how we deal with poems that exist only as sound texts, and their curiosity about what a first reading/hearing looks like.

Distanced Sounding: ARLO as a tool for the analysis and visualization of versioning phenomena within poetry audio

Kenneth Sherwood

Banner image for "Distanced Sounding" by Kenneth Sherwood

As readers, writers, students, teachers, or scholars of poetry, many of us have 'first-encounter' stories — hearing Poet X read for the first time; copying neglected Caedmon LPs in the library basement; borrowing a thrice-dubbed cassette of the Black Box Magazine or New Wilderness Audiographics; exploring the personal collection of a generous friend, poet, or teacher. In the days before the web, one might infer the performativity of David Antin, Jerry Rothenberg, Charles Olson, Anne Waldman, or Amiri Baraka through books like Technicians of the Sacred or Open Poetry or envision the scene of a raucous Beat coffeehouse reading, poet jamming with a jazz quintet — but recordings could be scarce.

Textile practice and the no-audience imaginary

Last June I sat looking at this “sampler” by Elizabeth Parker in the textile archives of the Victoria and Albert Museum. I put “sampler” in quotes because I do not think this piece really is one and neither do the curators and archivists. What is this object? What might it say toward a textile poetics? Similarly, the stitched works of Arthur Bispo do Rosário are called “outsider art” yet they were exhibited at the 2013 Venice Biennale.

I do not want to comment on the high art/craft divide or museum and art world ethics/politics—though textiles are often in the middle of those debates. And I have written about Parker’s sampler before.