[What follows is a taste of Jonathan Stalling’s Yíngēlìshī (Counterpath Press), an amazing instance of experimental “translation” or othering (here between, or as a blending of, Chinese & English) that may have been overlooked at the time of its original publication.
[In advance of the expanded third edition of Technicians of the Sacred on which I’m now working, University of California Press is planning to reissue the long out-of-print Symposium of the Whole: A Range of Discourse Toward an Ethnopoetics, edited by Diane Rothenberg & me in 1983. In Symposium, as a kind of natural companion volume to Technicians, we’ve followed the idea of an ethnopoetics from predecessors such as Vico, Blake, Thoreau, & Tzara to more recent essays & manifestos by poets & soci
[Anne Tardos, whose poetry & performances have enlightened us for several decades now, emerges in Nine (BlazeVox Books, forthcoming) as an innovator of new forms that serve as a vehicle for work that incorporates, like all great poetry, the fullest range of thoughts & experiences & makes them stick in mind & memory. The form in question is called a “nine,” the reach & depth of which is described by Rachel Blau DuPlessis in the opening of a powerful introductory essay: “Anne Tardos has invented a form that is a mode of practice and thus a mode of being in language, expressed in this book with a patient excitement.
[On the anniversary today of the Hiroshima holocaust I thought to post a poem of mine written some fifteen years after the event & later performed with the Japanese novelist Oda Makoto and composer Charlie Morrow under the auspices of the Bread & Puppet Theater. The event, “Auschwitz/Hiroshima,” was a dirge for the murders by fire that marked our time and too many times before & after. The Jigoku Zoshi is a Japanese scroll of hells that dates back to the twelfth century.]