Commentaries

Witness Marcel Broodthaers

The docile aphorism

Poet, artist, composer and publisher Dick Higgins’ culminating work might be his 1987 study, Pattern Poetry: Guide to an Unknown Literature. The categories he draws up, and the drawing up of them, are as fascinating as the examples in this profusely illustrated book. Categories that replace received notions of prosody in visual terms call for new units of measure. Why replace? Because we equate poetry with verse, using the old would make the term “pattern poetry” redundant, short-circuiting its explanatory power.

VIVA CADA!

LOTTY ROSENFELD. No +, 1983: Foto: Jorge Brantmayer
LOTTY ROSENFELD. No +, 1983: Foto: Jorge Brantmayer

Halfway through the 60s, art in Chile had developed mainly on two fronts: one with a critical and international vocation that included the experiments of conceptual art, and another, more committed to the political context. When the military coup happened in 1973, political art was completely removed from the picture. Pinochet’s dictatorship began to impose a regime of censorship and persecution, which strongly affected the local cultural scene. With many artists and authors imprisoned, tortured, assassinated, and exiled, the national artistic production was practically paralyzed.

Mayer and Good

From left to right: Erica Kaufman, Julia Bloch, Bernadette Mayer and Philip Good — at the Kelly Writers House, October 21, 2014, on a day when Mayer participated in a live webcast conversation with participants in the free, open online course called ModPo, recorded a session of PoemTalk on "February" by James Schuyler, and gave a reading with Philip Good. The recording of the webcast discussion is available here. The recording of the Mayer/Good reading is available here. The events are fully described here.

For Kader El-Janabi: 'The French Connection'

[The following short essay & poem were commissioned a decade ago for publication in Kader El-Janabi’s short-lived magazine, Arapoetica de la Poésie Internationale, but with that magazine’s demise or suspension, were never actually published.  The issue for which they were intended was to focus on the connection between American & French poetry over the preceding century.  In its original English version the concluding  poem (“Three Paris Elegies”) had appeared earli