Charles Bernstein

Miles Champion on Close Listening

Photo by Alan Bernheimer.
Photo by Alan Bernheimer.

Miles Champion grew up in England and moved to the U.S. in his early 30s. His books include Compositional Bonbons PlacateSore Models, Three Bell Zero, and, just out from Pressed Wafer, How I Became a Painter: Trevor Winkfield in Conversation with Miles Champion. He lives in Brooklyn, NY. On this show, Miles reads his new book, How to Laugh, which is forthcoming from Adventures in Poetry.

Program One: Champiom reads How To Laugh: (24:16): MP3
Program Two: Conversation with Charles Bernstein:(28:52): MP3

Michael Golston: Improbable history –– Jennifer Ashton's misrepresentations

Jennifer Ashton,  From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century (Cambridge: Cambridge University Press, 2005). [Michael Golston's review was originally published in the William Carlos Williams Review, Volume 28, Number 1-2, Spring/Fall 2008. Reprinted by permission of the author.]

I once had the good fortune to take a course with U.C. Berkeley’s Julian Boyd on the history of the English language. Occasionally, as a student in the class struggled with the finer points of deontic modality or the differences between “shall” and “will,” Boyd would suddenly glare at whomever was speaking and announce with mock sternness, “You are exactly wrong.” 

 

 That’s how I feel about Jennifer Ashton’s book.

Calling a Koons a Koons

Little Mermaid Koons {poetics lab simulation]

 Allegorical micturition has swept
the guest halls of the art galleries
and the undermasses
wail in the background to iambic
beat. Sludge is proclaimed sludge,
hairdos hors d’oeuvres, as the soiled
face of inverted cardioerasty—a.k.a.
genital fetish—rears its mushy brow.
––from “Ambliopia” in The Sophist (1987)

 The Jeff Koons retrospective at the Whitney Museum of American Art is to big art shows what The Little Mermaid is to big Broadway musicals: bright, breezy, and tuneless. Koons's art is a product of the Disnification of Warhol (and decidedly not the other way around). The show is worthwhile seeing as a monument to the most commercially successful aspects of the New York art market. As with the proverbial Chinese restaurant, with food shot up with MSG, you leave the show aesthetically hungry.

Crazy of Objects (Veil) (1999/2014): new audio work

waveform veil

A new audio work, "Crazy of Objects (Veil) (1999/2014)," which overlays my 1999 Vancouver reading. 8 minutes and 22 seconds:

MP3 (stereo)
WAV (4 tracks) 

"Waveform Veil" overlays the waveform of the audio 4-track audio file. 

Eric Mottram at PennSound

[at Segue:]

1) May 13, 1984: James Sherry's Loft, Hosted by Charles Bernstein for International Committee for Poetry (1:27): MP3

[at SUNY-Buffalo Poetics Program:]

2) October 8, 1992: Lecture on Hugh Macdiarmid in Charles Bernstein's seminar (second of three lectures; others on Bunting and Jones) (01:34:58): MP3

3) November 2, 1992: Conversation with Robert Creeley (tape begins after start) (1:31): MP3

4) September  23, 1992: Poetry reading, introduction by Robert Creeley, hosted by Charles Bernstein (1:03:55): MP3