Jerome Rothenberg

Poems and poetics

Hagiwara Sakutarō (1886–1942): Seven poems translated by Hiroaki Sato

          Chair

 

The person sleeping under the chair,

is he the children of the person who made the grand house?

 

 

          The Reason the Person Inside Looks like a Deformed Invalid

 

Outsider poems, a mini-anthology in progress (58): Armand Schwerner’s translation of Canto XV from Dante's 'Inferno'

[In the construction of an assemblage of outside & subterranean poetry the question looms of whether to include in the composition some of those who in the aftermath are celebrated & canonized as the ultimate & necessary insiders.  For Dante the outsidering came in his 37th year, when he was banished from Florence into what came to be a lifetime of exile from his native city.

Jerome Rothenberg, with Arie Galles: From 'Twenty Cloud Poems,' 1–8

Jerome Rothenberg & Arie Galles: A Double-Headed Portrait with Clouds
Jerome Rothenberg & Arie Galles: A Double-Headed Portrait with Clouds

But none of them paused,
none of them wanted to be a cloud

F.G. Lorca 

CLOUD POEM (1)

 

among the clouds

one face appears

'Toward a Poetry & Poetics of the Americas' (1): Rubén Darío, 'To Roosevelt'

Translation & endnote by Gabriel Gudding

[As I enter my eighty-third year the work that still lies ahead begins to focus on the possibility of a new poetry & poetics of the Americas.  The idea, like most ideas (good & bad) is by no means new but it stirs up, again, a sense of unkept promises & of a discontent with the idea of America as the domain of the United States alone, the way we speak of it again & again in our works & in our daily lives.

David-Baptiste Chirot: 'Cinema of Catharsis (IV–VII)' [redux]

[Continued from a previous posting]

IV.

 

As the patterns are emerging from the small battered lawn—the patterns which are for her continuously seeping in from those in the long-ago linoleums . . . they begin to form before her eyes the patterns of a parquet floor . . . the patterns, even, of a kind of design she has seen somewhere before . . . watching, waiting, with ever increasing urgency, an urgency she feels violently and vividly coursing through her tautening veins . . . as the memory begins to clear . . . revealing to her both the floors and the ceiling of a Cinema she had frequented as a child . . . in some outlaying area of the small battered city . . . an area which she associates more with dream than memory . . .