Jerome Rothenberg

Poems and poetics

That Dada Strain (continued): Three Dada Poems with Music (Talking Heads, Noise 292, Ethel Waters)

Performance 1984 of Jerome Rothenberg’s That Dada Strain by Luke Morrison & the
Performance 1984 of Jerome Rothenberg’s That Dada Strain by Luke Morrison & the Center for Theater Science & Research, San Diego and New York

Wrote Dada poet Hugo Ball at the moment of discovery (1916): “I have invented a new genre of poems, Verse ohne Worte, (poems without words) or Lautgedichte (sound poems), in which the balance of the vowels is weighed and distributed solely according to the values of the beginning sequence.  I gave a reading of the first one of these poems this evening. I had made myself a special costume for it.  My legs were in a cylinder of shiny blue cardboard, which came up to my hips so that I looked like an obelisk ...

Toward a Poetry & Poetics of the Americas (2): Aimé Césaire, from the original 1939 Notebook of a Return to the Native Land

Translation from French by A. James Arnold and Clayton Eshleman

[J.R.’s note.  Earlier this year I began with Heriberto Yépez the exploration of a possible assemblage of a newly reconsidered “poetry of the Americas.”  The driving idea was to imagine a multilingual/multinational/multipoetic juxtaposition of poetries drawn from the work of poets engaged as natives and strangers in the creation of a new & necessarily experimental poetry & poetics.  Coincident with that has been the publication of Aimé Césaire’s original 1939 version of Notebook of

Outside & Subterranean Poems, a Mini-Anthology in Progress (60): Empedocles of Akragas, “On Nature,” Fragments 1-10

1

 

Listen, Pausanias,

                        son of Ankhitos the Sage:

 

2

 

Our bodies are tunneled

Jerome Rothenberg: From EYE OF WITNESS: the Table of Contents

[In composing a gathering of my own work over the last half-century or so, I’ve tried to construct it, with the collaboration of Heriberto Yépez, as an assemblage on the model of earlier works of mine like Technicians of the Sacred & Poems for the Millennium.  The experiment in this case was how to turn a “reader” into something more than a chronological work stringing together selections from  previous books of poetry & poetics.  It’s my hope that the table of contents which follows will give some sense of what we were d

15 Antiphonals: for Haroldo de Campos, as a new publication

[The antiphonals that follow have just been published – in time for my birthday (today) – as a small hand-stitched paperback by sine wave peak in Edinburgh.  The poems themselves were part of a commission from Francesco Conz, for work to be added to a series of large colored photo portraits of Haroldo de Campos. As my contribution to what was conceived as a group tribute, I took phrases & lines from English translations of Haroldo’s poetry & responded to them with loosely rhymed soundings of my own. I then handwrote the poems pair by pair onto a black left margin on each of the photographs. In the typographical version below, Haroldo’s words appear in italics, while mine are shown in roman type. For me at least, the resultant work has the feel of translation/transcreation – as still another instance of othering.  They appear in the new edition in a noticeably different format. (J.R.)]

 

(1)

burnt by asthma

churn’d miasma