Ron Silliman talks for six minutes about Louis Zukofsky's “A“ as a useful counterpoint to Rachel Blau DuPlessis's Drafts and the crisis of the long poem that is at the heart of its composition: MP3 audio. Here is a link to the complete talk by Silliman. It was presented as part of a celebration of the poetry and criticism of DuPlessis held at Temple University in 2011.
I'm pleased to present here a statement by John Kinsella and Drew Milne on their forthcoming book-length poem-project, Reactor Red Shoes. The work is being published September, 2013 by Veer: bbk.ac.uk/cprc/publications/veer-books . Below the statement is an excerpt from the poem, reproduced from the typescript.
John Kinsella & Drew Milne, Reactor Red Shoes: A Statement
Here, where two writers sidle up into becoming a third party — a third-party poetics in play and with shared accountability — there is not so much a duet of voices, as a textile of give and take, warp and weft.
Yesterday, during a poetry reading at Tibor de Nagy Gallery for Jane Freilicher, “Painter among Poets,” Lawrence Schwartzwald photographed Freilicher, now 88, gazing at the iconic image taken in 1952 by photographer Walter Silver of her and John Ashbery at Tibor de Nagy. (Photographs should not be reproduced without consent of the photographer.)
Below is a short essay written by Andrew Levy about improvisation, first published published in W Magazine at the Kootenay School of Writing some years ago (which we here gratefully acknowledge: W #12 “ALL MUSIC,” 2007). He revived the old note after having read Jake Marmer’s piece made available recently in Jacket2 in this commentary: “Improvised poetry: palimpsest of drafts.” Levy’s original note had been inspired by something Anthony Braxton had said: the idea that some people believe jazz improvisers are simply making it all up in the moment, that they are somehow tuned in via a form of trance or something, that it’s an expression of their personal genius. He dismissed that notion of spontaneity. For him improv is a form of hearing and thinking. It is making measure in the familiarity of one’s attention. “If I were to revise my essay today,” Andrew wrote me recently, “I might search for a different word than ‘constructivist’ with which to counter the notion of spontaneity. It has an art historical resonance that might be unnecessary.”
I took the pleasure recently of re-reading nearly everything published in the first 17 issues of Jacket magazine. Then I went back through quickly, identifying eight poet/critic-on-poet profiles that I found most impressive and memorable. Many of these I recalled from the first time I’d read them in the magazine. For what it's worth, here are — to me — the eight best essay-profiles published in the first five years of the magazine:
1. Eliot Weinberger on James Laughlin (#2; 1998) 2. Rob Wilson on Jack Spicer (#7; 1999) 3. Lytle Shaw on Frank O’Hara (#10; 1999) 4. Stephen Vincent on Joanne Kyger (#11; 2000) 5. Tom Orange on Clark Coolidge (#13; 2001) 6. Brian Kim Stefans on Ian Hamilton Finlay (#15, 2001) 7. Ann Waldman on Kenneth Koch (#15; 2001) 8. Catherine Daly on Marjorie Allen Seiffert (#17; 2002)