Commentaries

Julie Patton on Close Listening

© 2016 Charles Bernstein / PennSound

Program one, reading (39:57): MP3
Program two, conversation with Charles Bernstein (45:29): MP3

On Program one, Julie Patton reads, performs and rips  "Car Tune," "Using Blue to Get Black," "Scribbling thru the Times,"  and "Notes for Sum (Nominally) Awake."

From Technicians of the Sacred (expanded): Papa Susso, with Bob Holman, “How Kora Was Born”

This story begins long long long long ago
So long ago that it was a place not a time
There was a man
He was so alone
The only person he could talk to was Africa
Luckily there was a tree nearby
Even more luckily behind that tree
That’s where his partner was hiding
All the sun and all the water were condensed
Into a single tiny block
Which the man planted in the sandy soil
He blew and he blew on that spot
Each time he blew he thought he heard something
What he was hearing was of course his partner singing

Twenty-six items from Special Collections (l)

Bibliography: The Epic of Gilgamesh: The Babylonian Epic Poem and Other Texts in Akkadian and Sumerian, translated and with an introduction by Andrew George (Allen Lane The Penguin Press, 1999). The poem below and its editorial matter appear on pages 175–189.

Put some there there. Imagine the body.

Eileen Myles and Olivier Brossard at galerie éof.

Three times a year Abigail Lang, Olivier Brossard and Vincent Broqua organize a two-day "Poets & Critics" symposium in Paris – during which they welcome a multinational and multilingual group of writers, scholars and artists to discuss the work of one English-language poet. The terrifying but exhilarating condition: the poet will also be there. The poet will talk back to you. You will talk back to the poet. Hopefully you will begin talking together.

Sounding the triangle: Sarah Stickney and Diana Thow on collaboration, translation, and the poetry of Elisa Biagini

L'Allegra by Angelica Kauffman, 1779
L'Allegra by Angelica Kauffman, 1779

As a kid, you might have made a new pal on the schoolyard—over a game of kickball, say, maybe even after you'd kicked someone, or they kicked you. Such are the strange shifts of human relationships. The friendship of Sarah Stickney and Diana Thow began far less traumatically, though impelled by a similar desire to connect—if not on a playground, far from their respective home turfs.

In her essay, "Translating Writing/ Writing Translation," Cole Swensen articulates the sensation of palpable contact brought about by the process of translation, "the collision of … deep structures, assumptions, and traces" that simultaneously inhabits the translator and influences the yet-to-be-written. "The foreign here is the agent that prevents stagnation."