Nothing can quite prepare readers for The Book of a Thousand Eyes, just out from Omnidawn. This is Hejinian’s largest scale book – yet it reflects the kind of intimacy – and affective and affecting charm – I associate with all her work. One key frame of the book is dreams – and there are many poems that have the quality of dreams – whether made-up or created in sleep – whose to say the difference? – Hejinian seems to say over and again. She also alludes to the Arabian Nights, as she has done before – tales that lead to more tales without closure. There is a great range of thinking in these poems; many topics are taken up, poetics figures significantly. The book is as much a primer in the possibilities of the imagination as an enactment of the imagination. Nonetheless, the poems are tightly formed, impeccably constructed, with a tonal precision and continuity that remains one of Hejinian’s hallmarks. I will be reading this book for years to come.
Robert Fitterman's Holocaust Museum (Veer Books, 2011) is composed of sets of captions from photographs in The United States Holocaust Memorial Museum in Washington, D.C. The absence of the images has a powerful effect, evoking the erasure of a people and a culture through the Systematic Extermination Process. Over the course of Fitterman's book, lists become litanies, with intricate and horrific repetitions rippling through what simultaneously seems like dryasdust clippings. Fitterman's work is exemplary in its apparently inexpressive, understated approach. Page after page of catalog entries without photographs, names without faces, deeds without doers creates a work more chilling than the original installation, from which the captions are derived. Loss – erasure and absence – is made palpable by the marked suppression of the missing photographs.
The problems with representations "after Auschwitz" are well-rehearsed, hovering, like an angry hornet, around the crisis for representation posed by this particular series of catastrophic events and processes. Images, no matter how disfigured, mask the unseen, unspoken, and inexplicable but always -- here's the hardest part -- imaginable, reality: imaginable in consequence of being real. Imaginable yet ungraspable. Imaginable yet apparently out images' reach. Imaginable because we have no choice but to imagine, no matter how resistant our imaginations may be to the task. Imgined, in other words, through the not that Adorno called negative dialectics.
For this issue we are looking for writing on music that departs from the implicit and explicit norms of academic music scholarship in favor of a more experimental or creative approach to language and form. “Experimental writing on music” is a broad criterion and we would like to keep it that way. Thus, the following should simply be taken as examples of some possible avenues to pursue:
Jorge Santiago Perednik (1952-2011) was born in Buenos Aires, Argentina. An influential poet and literary critic, he was also a publisher and a translator of English and American poetry. He founded several literary journals, two of the most influential being XUL and Deriva. The former was an important poetry journal that started publishing during Argentina’s last military dictatorship in 1980; it continued until 1997 with the printing of its 12th issue. As a journal, XUL provided regular compilations of some the most innovative poetry of its time. The journal was also one of Argentina’s best sources of new critical writing. It was dedicated to publishing the most diverse poetics within the experimental tradition. Perednik's work as a poet and editor reflected his interest in many of the poetics included in the journal: visual poetry; John Cage’s mesostics; sound and performative texts--along with the most serious experimental works in Spanish American poetry. Perednik’s writing was primarily associated with his always expanding interest in exploring language and its relation to poetry rather than with any particular literary school.