In 1966, Tuli Kupferberg released the marvelous LP No Deposit / No Return and a long poem called 1001 Ways to Beat the Draft, written with Robert Bashlow. 1001 Ways to Beat the Draft is one of the great long poems of the New American (and "Beat") poetry -- and perhaps the quintessential 60's anti-war poem, though it is hardly known at all and as far as I know not recognized as a poem. But it is one and a great one.The full poem (66 pp.) is on-line via Haathi Trust digital library's anarchism pamphlets.
The 2015 Prize of the City of Münster for International Poetry, the leading translation prize in Germany, was awarded to two new translations of my work: Gedichte und Übersetzen, tr. Versatorium and Peter Waterhouse (Vienna: Edition Korrespondenzen) and Angriff der Schwierigen Gedichte tr. Tobias Amslinger , Norbert Lange, Léonce W. Lupette and Mathias Traxler (based on All the Whiskey in Heaven, Farrar, Straus and Giroux, 2010) (Wiesbaden, Germany: Lux Books). The Verstoarium collaborators included Judith Aistleitner, Katharine Apostle, Gabriella Attems, Aida Besirevic, Julia Dengg, Helmut Ege, Monique Ehmann, Nino Idoidze, Katharina Lehner, Astrid Nischkauer, Natalie Neumaier, Mirjam Paninski, Marlies Peter, Miriam Rainer, Julia Rosenkranz, Anja Sander, Katharina Schindl, Dimitri Smirnov, Nina-Victoria Truskawetz, Franz Vala, Jennifer Weiss, Katharina Widholm, Anna Zalesko, plus Waterhouse and me.
Since 1993, the city of Münster has awarded the poetry prize for a book of poetry and its translation. Prizewinners 2013 were the Caribbean Nobel Laureate Derek Walcott and his German translator Werner von Koppenfels.
Alan Riach interviews Robert Creeley, University of Waikato, New Zealand, July 26, 1995 (51:15): MP3 Creeley reads two poems: "I Know a Man" (0:25): MP3 (Creeley discusses the poem at the beginning of the interview)
Parsing was published 39 years ago in 1976 by Asylum's Press, the press I started (with Susan Bee) to publish my first book, Asylum. There were under 50 copies made, xerox, side-staple.
The first part of the book, “Sentences,” is composed almost entirely from setences taken from two sources and both are oral histories: Working by Studs Terkel and Yessir, I’ve Been Here a Long Time: Faces and Words of Americans by George Mitchell. I lifted and arranged sentences from these vernacular speech transcriptions and placed them amidst sentences I generated myself. All the sentences in this first part are vernacular and start with an "I" or a "You" or an "It."