In 1964, American painter and film maker Alfred Leslie and poet Frank O’Hara completed the movie The Last Clean Shirt. It was first shown at the San Francisco Museum of Modern Art in 1964 and later that year at Lincoln Center in New York, causing an uproar among the audience. The movie shows two characters, a black man and a white woman, driving around Manhattan in a convertible car. The Last Clean Shirt is a true collaboration between a film maker and a poet since Frank O’Hara wrote the subtitles to the dialogue or rather the monologue: the woman is indeed the only character who speaks and she furthermore expresses herself in Finnish gibberish, which demanded that subtitles be added. [read more]
A new hub has emerged in the world of online poetics research from Jacket’s own founder, John Tranter. Tranter’s new multidisciplinary Journal of Poetics Research, based in Sydney, Australia, explores “the theory and practice of literary discourse in culture, media and the arts broadly conceived, including poetry, prose, journalism, drama, cinema, radio and television, as well as … literary, historical, social, institutional and psychological modes of narrative, theory and contention.”
Tranter founded Jacket magazine in 1997 and ran the journal for forty issues until 2010, when Tranter retired from thirteen years of intense daily involvement with the journal and the Jacket archives moved to servers at the University of Pennsylvania upon Jacket2’s launch.
ModPo — a free, entirely open, non-credit, discussion-based 10-week course on modern & contemporary U.S. poetry — begins its 2014 session on September 6. Everyone is welcome to join us. Click here — https://www.coursera.org/course/modernpoetry — to enroll.
ModPo 2014 includes several new features in addition to the 10-week survey of mod American poets & poems. New is an entire set of resources for teachers. (We encourage teachers at all levels to join us.) And new, too, is “ModPoPLUS,” a supplemental syllabus that parallels the main ModPo syllabus — additional poems, links to audio and video, and video-recorded close readings of the poems.
Along with the recent publication of Kindergarde: Avant-Garde Poems, Plays, Stories, and Songs for Children (reviewed in Jacket2 by Eileen R. Tabios and Carolyn Hembree), Black Radish Books has released a sampling of recorded readings from the anthology. While the recordings could illustrate how to approach these poems with children — such as alternating line by line between adult and child, as Kit Robinson does with his granddaughter Flora Beatrice Breitbard in reading “The Happy Onions” — the recordings also, in a broader sense, encourage the rule-breaking inherent in play.
These recordings showcase the contagious dosages of play that may conjure otherwise faded childhood reveries, whether it’s a poem about a pickle that does all the things adults want it to — “stands up straight, glistens for company, shakes hands in a way you’ll remember, respects others” in “The Aptitude of the Pickle” — or about childhood friendship as detailed in “Valentine,” in which the speaker asserts, “I am your bestest friend forever and ever.”
Cole Swensen’s letter begins with two accusations that we do not feel are just regarding our post. We do not conflate the Iowa MFA with the International Writing Program. And we do not conflate the contemporary moment with the 1950s. It is true that we do not distinguish between the fiction and the poetry program within the MFA but we do not understand how this is relevant. Where we might disagree with Swensen is regarding the assumption that one can be on the advisory board of the State Department-funded IWP, a program that both the IWP and the State Department itself mention as cultural soft diplomacy, and not be a willing participant in soft diplomacy. We understand that Swensen might not be doing much advising (and we are not saying that Swensen has done much more than be willing to be on the board); her willingness to support the program with her established name is to us an endorsement of it. We have no interest in singling anybody out; we have been trying to understand the breadth of such arrangements as itself a phenomenon, and so we are interested in all the instances. — Jasper Bernes, Joshua Clover, Juliana Spahr