Al Filreis

Wallace Stevens by Mimi Gross

Mimi Gross has painted a Wallace Stevens series. Here is one of them. Please do not reproduce without permission of Mimi Gross.

A few words on Tracie Morris

A thought today on the way in which Tracie Morris looks forward and back simultaneously. Morris takes us into a future in which the various arts become indistinct not just programmatically (and disciplinarily) but in every single art piece, wherein the piece is a convergence of  imagination, throat, song, history, movement, and improvised word-signifying – and somehow at the same time she returns to a past of the poem as a fundamental song of human culture as it emerged before the mere page did its dominating and excluding.

Allen Ginsberg: "don't smoke"

Allen Ginsberg, accompanying himself on the harmonium, chants his “Put Down Yr Cigarette Rag”: MP3.

Recipients of the Pew Fellowships (for Philadelphia-area artists)

I am pleased to see that among the 2014 recipients of Pew Fellowships are:
Laynie Browne
Browne explores and reinvents various poetic forms, including sonnets (Daily Sonnets, Counterpath, 2007) tales (The Scented Fox, Wave Books, 2007), and letters (The Desires of Letters, Counterpath, 2010).
Thomas Devaney
A native Philadelphian and author of the newly released Calamity Jane (Furniture Press, 2014), Devaney takes inspiration from music and visual art, writing for the ear as well as the eye.
J.C. Todd
Todd’s work complicates and contemporizes the longstanding tradition of war poetry, and investigates how war permeates human life and language.

Stephen Ratcliffe reads the entirety of one of his 1,000-page books

10-hour recording added to PennSound

C o n t i n u u m, written between January 5, 2011 and September 30, 2013, is the fourth book in Stephen Ratcliffe's ongoing series of 1,000-page books, each written in 1,000 consecutive days.

Listening to Ratcliffe reading the words of the day on the page as it turns from one day to the next, one hears the poem's acoustic 'shape': the length and pitch of its syllables and words (plus those silences between them) sounding the air. What one doesn't hear is its visual 'shape': words set in Courier, font of equivalent spacing; the nine lines on the page divided into four stanzas; first three lines all the same length, followed by two pairs of indented lines (both first lines the same length, both second lines six spaces shorter), followed by two final lines (back on the left margin, both lines also the same length) (see photo of "9.30", top right).