Jerome Rothenberg

Poems and poetics

Stu Watson: A Review of NINE by Anne Tardos

· Paperback: 148 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-226-6


Jerome Rothenberg: Three Poems from “The Disasters of War” after Goya

He is a real man
when he murders,

is he not?




Sad presentiments
of what must come
to pass   a rage
of shredded clothes 

the darkness

through which images

rain down

a ruined world

From Technicians of the Sacred (expanded): David Larsen’s Translation of “The Names of the Lion”


(al-Ḥusayn ibn Aḥmad ibn Khālawayh) 


al-Waththāb             “The Pouncer”

Andrew Schelling on Gary Snyder’s “This Present Moment: New Poems”

This Present Moment: New Poems
Gary Snyder
Counterpoint Press, 2015
88 pp.; $22.00 (Cloth) 


A flat package arrived in the mail 15 years ago. When I opened the envelope it held a photocopy of the Candamaharoshana Tantra, both its original Sanskrit text and an English translation by the scholar Christopher S. George. A note Gary Snyder had tucked inside said, “I only give this to friends over 40, and married.”


The Candamaharoshana is a dialogue between Shiva and his wife, Parvati. Its intent is to break both attachment and revulsion toward the body through the most extreme sexual practices of devotion, cherishing the smells, the wastes, the hidden inward operations of digestion, excretion, salivation, and perspiration of the beloved’s physical body. In talking about two recent books, one by Gary Snyder, one a compilation of talks and lectures around his work, I want to keep that gift with its little note in mind, because it reveals two practices that run through Snyder’s writings.

Nakahara Chuya: Six Poems Newly Englished, Plus a Single Transcreation

Translations from Japanese by Jerome Rothenberg & Yasuhiro Yotsumoto

NOTE. Over a short lifetime, Nakahara Chuya (1907-1937) was a major innovator along lines originally shaped by Dada and other, earlier forms of European, largely French, experimental poetry. In 1997, as part of an annual poetry festival in his home prefecture of Yamaguchi, I came to his grave along with a group of Japanese poet-companions, to celebrate the 60th year of his death and the 90th of his birth. The poem marking that time, “At the Grave of Nakahara Chuya,” appeared a few years later in A Paradise of Poets and included a fake “translation” (a “transcreation” perhaps, as Harold de Campos might have had it) in what I took to be his style, or one of them, that brought some of his work into the domain of popular Japanese music.