Monday (September 16) is the actual publication date for Eye of Witness: A Jerome Rothenberg Reader, co-edited with Heriberto Yépez & published by Black Widow Press in Boston. The design of the book follows the layout of my anthologies such as Poems for the Millennium & Technicians of the Sacred, which makes it different in format from other “readers” & a way of treating the range of works (poetry, prose, performance, plays, poetics, visual, verbal, & vocal, translations & variations) that I’ve been into over the last fifty years, e
[EDITOR'S NOTE. To say again what I’ve been driving at in previous postings, the attempt here is to bring into the open a remarkable Yiddish-American poet whose master work, Processions, accompanies & may even prefigure the long-poem experiments of English language masters like Pound, Williams, & Zukofsky, with all of whom he was in contact. If so that might in itself suggest a rethinking of experimental American modernism & open the possibility of a multilingual history of twentieth-century American poetry. The groundwork here has been initiated by Ar
[This is the final prose piece in Eye of Witness: A Jerome Rothenberg Reader, which brings together aspects of my work in a range of forms & genres (poetry, prose, performance, plays, poetics, visual, verbal, & vocal). Co-edited with Heriberto Yépez & published in early September by Joe Phillips & Black Widow Press. (J.R.)]
[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.