[In advance of publication September 2013 by Black Widow Press, co-edited by Heriberto Yépez & Jerome Rothenberg]
A Re-Vision of Jerome Rothenberg’s Poetry and Poetics
Jerome Rothenberg’s poetic work began in the late fifties. It was after his stay in Europe that his writing took the form of what would become a life-long program. His first published book, New Young German Poets (1959), already showed his characteristic interest in translation, poetics, avant-garde writing, and their relation to the human condition as a deeper presence restructuring the poem. Although his work can be associated with that of his early group—David Antin and Armand Schwerner, among others—Rothenberg’s work is unique. He shares techniques, contexts and a literary/cultural field with others, but his ends are sui generis.
The scene – a vegetable garden almost smack in its center a well.
four little girls singing – we’re not gonna go to the woods no more the laurel trees are down on the floor hey the beautiful babe will go pick them up then we’ll come out to dance hey just like they dance oh you sing dance & hug anybody you want
[The news has just reached me of the sudden death of Kevin Power, a friend of mine for over forty years & an independent writer & chronicler of contemporary poetry (particularly postwar/postmodern North American) & art (particularly Latin American & Spanish). British when we first met, he was for many years the distinguished chair of American Literature at the University of Alicante in Spain & a deputy director of the Museo Reina Sofía in Madrid. On September 15, 2011 I posted the following introduction to Where You’re At: Poetics & Visual Art(for Alastair Johnston’s Poltroon Press, 2011), his collection of eight interviews with American poets conducted in the mid-1970s as a mapping of American poetry during the second great awakening of twentieth-century poetry & art. The force of Kevin’s interaction with & meticulous understanding of American poetry & poets is clear from this introduction & even more so from his role as interlocutor in the interviews themselves. Since Poems and Poetics wasn’t then co-posted with Jacket2, I’m reposting this now as the most immediate homage I can offer to Kevin for the years of dedication & energy that he privileged me to share. (J.R.)]
[As originally published in Joris & Tengour, Poems for the Millennium, volume 4: The University of California Book of North African Literature, 2012]
dirty and ugly they saw me there goes an empty head they said in fact I am more like an open book there’s much useful stuff inside this head * o my heart I burn you and if you want I will do more o my heart you shame me because you like who doesn't like you.
neither think nor search too much don’t always be despondent the planets are not fixed and life’s not eternal
don't play with your best friend's feelings & if people insult him, ease his mind who loves you, love him more but if he betrays you, don't ever be his friend again *
all I’ve had in life is one goat but I’ve written beautiful quatrains many are fulfilled through God’s favor yet claim those favors as their own labors
travel and you’ll get to know people and owe obedience to the noble the fathead with the pot-belly sell him for a dime
my heart’s between a hammer & an anvil & that damned blacksmith has no pity he keeps hammering & when it cools he kindles the fire with his bellows
[NOTE. In a too short life, Pablo Tac (1820-1841) produced a rare work for his time: a completely indigenous study of Luiseño language & culture -- much more than what can be shown here. Writes Lisbeth Haas in her introduction about a work never translated or published before now: “As a historian and scholar, PabloTac defied the dominant ideas expressed about Luiseño and other indigenous people under Spanish colonialism. His work used categories of analysis such as ‘dance’ that offered an indigenous way of understanding Luiseño society during the colonial and Mexican eras in California, from 1769 to 1848. Born in Mission San Luis Rey de Francia in 1820, Tac devised a way to write Luiseño from his study of Latin grammar and Spanish, and in so doing he captured many of the relationships that existed between Luiseños during his youth. Drawing on local knowledge, traditions, and ideas, his writing leaves traces of Luiseño spiritual practice and thought, while also revealing the relations of power and authority that existed within his indigenous community.”]