For further information about the course: link. To enroll, click here. ModPo begins on September 10, 2012, and continues for ten weeks. As of the date of this posting, 24,600 were enrolled. Roughly* half live outside North America.
* We have scant data on enrollees. Once the course begins, we will ask participants to fill out a short (obviously optional) survey and hope to learn why so many are taking the course, where they live, etc.
George Bowering and I have exchanged emails every so often about our mutual interest in baseball, and — although this hasn’t been the explicit topic of our casual backs and forth — about why baseball has been such an attraction to poets writing in the experimental tradition. It might just be that because there are so many fans of baseball, and because there are many experimental poets, the demographic probabilities are in favor of producing the Bowerings. But I think it’s more than that. I’m pleased to recommend Bowering’s Baseball: A Poem in the Magic Number 9 (inexpensive paperback available here), but that’s not why I’m writing today. Today I want to introduce you to a book-length poem Kevin Verrone has been writing. It is not published yet but, as I understand it, is complete in manuscript. The title of the book is “Box Score : An Autobiography” and has, in addition to the fairly standard quip about our childhoods from the late Bart Giamatti, a lovely and relevant epigraph from Andrew Zawaki:
: weighted and found wanting : this unaccustomed light
Verrone’s book is a series of prose poems and here are several:
When not long ago Pierre Joris joined host Leonard Schwartz for an episode of Cross Cultural Poetics (episode #253, entitled “Celan/Bronk”), I was all ears. Much of the discussion was about “The Meridian,” which is, for me, a crucial text. The audio recording of the program, which is aired live on a radio station in the state of Washington, has been brought over to PennSound. Now, as of today, it has been segmented (by Anna Zalokostas).
The conversation began with Joris’s account of the special difficulty of translating Celan’s famous speech (10:26): MP3. Then Joris described the sense of discovery and encounter in Celan’s work — and the “enlightening” experience of translating and making The Meridian: Final Version-Drafts-Materials (5:49): MP3. Joris also discussed “tremors and hints” of the compositional process, the transparency of Celan’s writing practice, and his aphoristic tendencies (4:53): MP3.
Joris has a striking way of describing Celan as a concentration camp survivor and his vexed and, one might say, traumatic relationship to the German language, and thus how careful he was when he wrote his response to having received the Buchner prize (5:05): MP3. Then, to my delight, Joris read some new translations of Celan’s aphorisms (0:46): MP3; and reminded us again of the richness of phrasing in The Meridian and concluded with a note on the daily work of poetry (2:14): MP3.