Charles Bernstein

Calligraphy Typewriters: 'The Selected Poems of Larry Eigner'

The selected poems of Larry Eigner is just out from the series I edit with Hank Lazer at the University of Alabama Press. We are able to offer a 30% discount, so you can get this 350-page book for $17. 

Eigner’s poetry is one of the splendors of postwar American culture. There is no more perfect introduction to Eigner’s sublime actualizations of the “sustaining air” of the everyday than this selection.

My foreword to the book is included in Pitch of Poetry.  It is also on-line here

Susan Bee in conversation with Phong Bui

Photo: Nathlie Provosty

On March 25, 2017, Phong Bui interviewed Susan Bee at “POW!,” Bee’s show of new paintings at A.I.R. gallery (Brooklyn), which is on until April 16. 

Richard Swigg (1938-2017)

Richard Swigg was a great friend of PennSound, editing our extensive sound recording collections of Williams, Bunting, Tomlinson, Oppen, and Replansky. His work was thorough, with the aim of archiving all the audio recordings of these poets. He was tireless in his efforts — he spent decades assembling the recordings — and worked with us in securing permission to make these recordings available on PennSound. 

Colin Browne on Close Listening

Photo: Charles Bernstein / PennSound

On Close Listening, Colin Browne and I talked about the founding of the Kootenay School of Writing, the limits of narrative in poetry and film and the possibilities of collage, the trickster figure in the work of Charles Edenshaw, and the overlays of personal history and cultural history in Browne’s new book about Edenshaw, a nineteenth-century indegenous artist from British Columbia.

(30:00): MP3

Daphne Marlatt on Close Listening

Photo: Charles Bernstein / PennSound

Daphne Marlatt talks to me about Vancouver as place and theme in her writing, poetry as documentary, the long poem as a fluid form for the lyric, poems as novels and novels as poems, drift in/as double consciousness, verbal language as and in the body, feminist poetics and writing “in lesbian,” the possibilities for love poetry, and the after-effects of her move from Malaysia to Canada when she was nine.

Daphne Marlatt talks to me about Vancouver as place and theme in her writing, poetry as documentary, the long poem as a fluid form for the lyric, poems as novels and novels as poems, drift and double consciousness, verbal language as and in the body, feminist poetics and writing “in lesbian,” the possibilities for love poetry, and the after-effects of her move from Malaysia to Canada when she was nine.