Commentaries

Jake Marmer interviews David Antin & Jerome Rothenberg

On December 23, 2015, in San Diego, Jake Marmer interviewed David Antin and Jerome Rothenberg. Today the recording of the interview has been added to the Marmer, Antin, and Rothenberg author pages at PennSound. Here is a direct link to it: MP3 (1:35:55). Here is Jake Marmer's introduction to the interview:

Imagining a Poetry That We Might Find: Conversation with Jerome Rothenberg and David Antin

Twenty-six items from Special Collections (k)

Exhibit ‘K’: Somali.

Bibliography: Somali Poetry: An Introduction, B.W. Andrzejewski and I.M. Lewis (Oxford, 1964). The poem below appears on pages 142 (English) and 143 (Somali).

New World Reading

This week to follow up on my post about Kobus Moolman, winner of the Glenna Luschei prize, I’m sharing some fine posts about Moolman’s fellow finalists, Joan Metelerkamp and Togara Muzanenhamo, and about contemporary African writing more broadly.

Undoing the great modernist aural vowel shift

[The recording of the deformance described in this commentary is here.] When Jed Rasula and Steve McCaffrey assembled an anthology of historical avant-gardism called Imagining Language (1998), their goal was to find, “along the canonical spectrum, within the regulated normality of literature,” the various “occasional protuberances of another submerged order.” Wallace Stevens is nowhere to be found here, perhaps not surprisingly, among selections from the writings of Stein, Joyce, Whitman, Madeline Gins, Hugo Ball, Max Ernst, Lupino Lane, Armand Schwerner, Zora Neale Hurston, Marcel Duchamp, Jackson Mac Low, bp Nichol, Gerard Manley Hopkins, and others. Was Stevens not in the vocabulary of McCaffrey, that pioneering member of Canadian sound-poetry performance group The Four Horsemen, or that of Rasula, the poet-scholar/network TV advisor who brought ABC’s Ripley’s Believe It or Not together with the same avant-garde Four Horsemen? The impression given that Stevens is not involved in Imagining Language as a project — similar to the assumption (incorrect, as it turns out) that Stevens’s effect would need to be somewhat repressed in order for Rachel Blau DuPlessis’s Pink Guitar to reclaim modernism’s radical tendencies — implies mistakenly that McCaffrey, for one, has not deeply pondered Stevens’s relevance to his own poetic project.

The Poetry of Osip Mandelstam: A Radio Play by Paul Celan (complete)

Translated from Celan’s German by Pierre Joris

 

[Reposted as a followup to Pierre Joris’s “Thoughts on Osip Mandelstam’s Birthday,” Jacket2, January 16, 2016.]