Hearing the Audience

Eric Rettberg

Hearing the Audience

Epiphone: A concatenation of 10 different ARLO machine tags of audience laughter from recordings of poetry by Gary Sullivan and K. Silem Mohammad

In the 2009 essay "Hearing Voices," Charles Bernstein writes that “a poet’s reading of her or his own work has an entirely different authority" from that of other readers. Bernstein assures his readers that his assertion is not "just another way of fetishizing the author and the author's voice" but rather a way of acknowledging that "the archive of recordings, as well as the live performance, of contemporary poems is almost exclusively composed of poets giving voice to their own work" (142).

InsideOut Literary Arts Project and the poetics of abundance

Recently, one of the writers teaching for InsideOut Literary Arts (iO) shared Kandinsky with second graders. It was more of a dialogue than a lesson, as the students were asked to write back to Kandinsky, to engage his painting through language. For over 20 years, iO, the largest literary nonprofit in Detroit, has been bringing writers into K-12 schools to lead weekly writing workshops. At the end of the academic year, iO publishes an anthology of student writing for each participating school, complete with a book launch and reading. With approximately 30 schools and 4,700 students participating in the program, most of them in the Detroit Public Schools system, iO stays busy.

Introduction, II: Making a turn

Networked City
Adam Greenfield, "The Network City," 2009

The arrows that traverse Adam Greenfield’s “The Network City” not only pay homage to Debord and Jorn’s “The Naked City” but also suggest a cluster of arguments that grow increasingly persuasive as counter-mapping enters the digital age.  

John Martone: From 'children's book' 2014

[To describe John Martone as our greatest living miniaturist, as I have in the past, is to go back for me to a time many years ago when Ian Hamilton Finlay & I corresponded about a poetry of small increments (one-word poems & other such concerns).  For Finlay, I believe, some form of minimalism was at the heart of the concrete poetry he was then exploring & developing, & for myself it entered into aspects of ethnopoetics & appeared most clearly in the numerically based poems (gematria) that I was beginning to write.  It’s with someo

A short interview with Liz Howard

Liz Howard was born and raised in rural Northern Ontario and is currently a poet and cognition research officer in Toronto. She is co-curator of the feminist reading series AvantGarden and graduate of the MFA program in Creative Writing from The University of Guelph. Her chapbook Skullambient (Ferno House Press) was shortlisted for the 2012 bpNichol Chapbook Award.