I met Stacy in the mid-1980s, when I taught for a semester at the Iowa Writers’ Workshop. She was my student, as was her future husband, Chet Weiner. The three of us formed a kind of molecule, moving across the snowy Iowa City landscape and into the spring. My sister Jennifer had died the year before, and I was still shaken; their company felt like a kind of blessing.
Stacy was smart, curious, and had a knack for appreciation and effortless kindness; she was beautiful, with an uncanny voice, subtly muted and musical; her intensity created an aura of exotic mystery. Her poems were all phenomenology and oblique shift. She seemed to want to write the wind. We watched Breathless. We were in thrall to the poems of Michael Palmer.From Connecticut, but already traveled, already on a quest, she seemed to be in the process of self-invention. This took will, and wit, and love, and a kind of radical intransigence, all of which she had in quantity. And something else was already in place; an essential joyful appetite, free from acquisitiveness. Objects did not move her; they got in the way of her senses. Her fine intelligence was deeply embedded in a creaturely connection to the natural world; taste, touch, sight.
I. Filiations Jennifer Moxley Dérive-ations: Pierre Joris & the Drift of Tradition Franca Bellarsi On the Road of Nomadic Poetics: Pierre Joris and the Beats in Conversation Christopher Rizzo Essaying the Illiterary: Pierre Joris, Charles Olson and the Event of Writing Dale Smith The Newly American
US – Géographèmes (Joris in response to Cockelbergh)
II. En route Robert Kelly NOMAD: a Meditation on Pierre Joris’ Nomad Poetics Louis Armand NOMAD IS THIS Charles Bernstein in conversation with Pierre Joris Close Listening Corina Ciocârlie Adrift. Travelling with Pierre Joris Allen Fisher Cogent Attention in the Work of Pierre Joris
Pied bot Charles Bernstein éditions joca seria collection américaine translated by Martin Richet afterword by Jean-Marie Gleize photos by Susan Bee poésie 160 pages 15 x 20 cm 16 € ISBN 978-2-84809-187-7 March 2012 Shade, The Occurrence of Tune, and the preface to Content's Dream with altered photographs by Susan Bee (from the original edition of Occurrence of Tune) More information, and slide show of photos, at web site for éditions joca seria.
This interview was conducted by seminar participants at the Institute for Comparative Literature at the University of Vienna. The seminar sent me a series of answers, all quotatons from my work, and asked me to write questions following each answer.
Universities depend upon the free exchange of ideas. PennSound is the Internet’s largest archive of poetry sound recordings, all available for free for noncommercial and educational use. PennSound will symbolically go black on Wednesday in solidarity with those opposing SOPA and PIPA. PennSound will not be directly affected by these proposed laws, if they are enacted, because all our material is fully permissioned.But all of us who use the Internet for research or education will be gravely affected by unnecessary regulations that will stifle innovation and block access to information.Large corporate interest want to privatize knowledge: to gobble it all up (whether it is theirs or not) and sell it. They want to turn around the American principle of presumption of innocence on its head by saying that all knowledge and information is private until proven otherwise. Unlike in China, in our democracy, the presumption must be that information is free to circulate unless a compelling reason can be shown to block it. Knowledge is our commons, a fundamentally shared resource. To indiscriminately block access to vital web resources – without full due process and presumption of innocence – wounds our democracy and cripples our republic. The cures these two bills propose are far worse than the problems they seek to address. There are better, wiser approaches. Don’t let Big Brother get away with this one.
