Commentaries


Harold Abramowitz & Andrea Quaid	A Primer
Charles Alexander	A wing & a word
Brian Ang	PennSound & Politics
Oana Avasilichioaei	Folding Borders: Experimenting in the Canadian Laboratory
Gary Barwin
Eric Baus	Notes on PennSound
Jasper Bernes, Joshua Clover, and Juliana Spahr
Charles Bernstein
Julia Bloch	Against the weather: On teaching Williams
Amaranth Borsuk	Artists' books in the age of digital publishing
Jeff Boruszak	Notes from PennSound
Jules Boykoff and Kaia Sand	Moxie politik
Pam Brown	Jacket the first
Laynie Browne	The poet's novel
Tisa Bryant	(Un)lived/experience
David Buuck	Performance/poetics
Capsule reviews
J. R. Carpenter	Performing digital texts in European contexts
Julie Carr	The Real Life of Poetry
aj carruthers	The Lives of the Experimental Poets
Laura Carter	Small presses on the move
Amy Catanzano	Quantum poetics
Natalia Cecire	The poetics of irritation
Jennifer S. Cheng	Other ways of seeing: The poetics and politics of refraction
Clipping
Stephen Collis	Neighbouring zones
Stephen Collis	The Rise of the Biotariat
David Colón	100 years of hispanglo poetics
Randall Couch	Cavafy in English: The sesquicentennium approaches
Amelia Dale	Sydney reading experiments: Poetry in performance
Maria Damon	Metaphor is the return of the repressed
Thom Donovan	SELF \| LIFE \| WRITING
Sarah Dowling	Languages
Marcella Durand	Geometries of landscape
Patrick Durgin	Witness
Kristin Dykstra	Intermedium
Jacob Edmond	Iterations
Mercedes Eng	Unceded west coast city: Vancouver
Steve Evans	The phonotextual braid
Michael Farrell	Australia, Fitzroy
Farnoosh Fathi	One knock for the clown
Al Filreis
First Readings
Chris Funkhouser	In audio practice
Kristen Gallagher	Gossip or history
elena gomez	pics & illos &c.
Michael S. Hennessey	Editor, Jacket2 and PennSound
Fiona Hile	Notes on Australian poetic communities
Jen Hofer	Trans positions
Walt Hunter	Speculations: new Irish poetry
Jacket2
Tsitsi Jaji	Good news from Africa
Paul Jaussen	Detroit poetries: Field notes
Pierre Joris	Nomadics
Hilary Kaplan	Brazilian poetry and poetics
Erica Kaufman	Pedagogy and poetry
Davy Knittle	Queer Urban Poetics
Aaron Kunin	The wish to be an object
Sueyeun Juliette Lee	Time text body noise
Ariel Goldberg and Rachel Levitsky	Social reading
Joel Lewis	"What do you know of our New Jersey iron saints?"
Astrid Lorange	Fossicks and offerings from Sydney
Anthony Madrid	Twenty-six items from Special Collections
Jill Magi	A textile poetics
Pattie McCarthy	Subdomestictext
rob mclennan	Some notes on Canadian poetry
Joe Milutis	Bright arrogance
Rajiv Mohabir	Coolitude: Poetics of the Indian Labor Diaspora
Tracie Morris	Poetry seen and unseen
Garry Thomas Morse
Erín Moure	T r a n s l a t i o n ' s__H o m e o p a t h i c__G e s t u r e s
Marci Nelligan	Inside the Black Writers Museum
Aldon Nielsen	RECONCEPTUAL
Tom Orange	A great ringing edifice
Angela Hume, Gillian Osborne, and Margaret Ronda	Field notes from the 2013 Conference on Ecopoetics
Jena Osman	Psychogeographies
Craig Santos Perez	Last commentator in paradise
Vanessa Place	Global conceptualisms
PoemTalk
QUICK QUESTION	KATIE L. PRICE
Andrea Quaid	Epic Engagements
Vaughan Rapatahana	Ngā whakaaro
a rawlings	AÐ LANDA
Kimo Reder	A p.s. to Genesis: notes on transgenic/bio-poetic art
Deborah Richards	Putting it on
Roopika Risam	Postcolonial digital poetics
Jack Ross	Notes on NZ poetry
Jerome Rothenberg	Poems and poetics
Linda Russo	Emplaced and local to
Kyle Schlesinger	Book arts
Kathy Lou Schultz	Epic worlds
Susan M. Schultz	Experimental poetries in the Pacific / editing Tinfish Press
Joshua Schuster	Post-Ecopoetics
Leonard Schwartz	Cross Cultural Poetics commentary
Laura Sims	Reports from the archives
Jonathan Skinner	Ecopoetics
Danny Snelson	Reissues commentary
CARLOS SOTO-ROMÁN	Chilean poetics
Leah Souffrant	A slowing: Poetics and attention
Orchid Tierney and David Howard	Cracked mirrors
John Tranter	Under the horizon
Divya Victor	DISCOURSES ON LOCALITY: Singapore
MARCI VOGEL	A poetics of the étrangère
Dee Morris & Stephen Voyce	Counter map collection
Barrett Watten	My presentism
Christine Wertheim	Fous Littéraires: Mad linguists and other literary fools
Laura Wetherington	Language and its double
Tyrone Williams	Hunches, hedges, etc.
Mia You	The Uses of the erotic
Stephanie Young	The more territories, the more circulation
Magdalena Zurawski	FEEL BEAUTY SUPPLY

Jacket2 index

Jacket 1997–2010

We maintain the complete archive of Jacket magazine, founded and edited by John Tranter.

Recently in Jacket2

Pitch of Poetry

Charles Bernstein

University of Chicago Press, Spring 2016 (352 pages | 6 x 9)

Praised in recent years as a “calculating, improvisatory, essential poet” by Daisy Fried in the New York Times, Charles Bernstein is a leading voice in American literary theory. Pitch of Poetry is his irreverent guide to modernist and contemporary poetics.

A quiver of chapbooks

A review of 'New-Generation African Poets'

Nathan Suhr-Sytsma

This chapbook box set is the third in an annual series, first published in 2014 by Slapering Hol Press and taken on by Akashic Books as of 2015. The box sets are a project of the African Book Poetry Fund, which also supports an impressive constellation of poetry prizes, poetry libraries in African cities, and book publishing — full-length collections by new poets, as well as collected or new and selected works by such major African poets as Ama Ata Aidoo, the late Kofi Awoonor, and Gabriel Okara. Having titled the first two sets Seven New Generation African Poets and Eight New-Generation African Poets, coeditors Kwame Dawes and Chris Abani were forced by the fact that this third iteration also features eight poets to settle the issue of naming. As Dawes puts it, “By tagging on to our new title the word tatu, a Swahili word denoting the number three, we are codifying our faith and confidence that this is truly a series.”[1] Indeed, the most recent set — Nne or four — was released this past April with ten more chapbooks, although they will have to await a future review. Each chapbook in the Tatu set bears a preface by an established poet, and each bears cover art by Victor Ehikhamenor, a Nigerian artist and writer who is currently exhibiting at the Venice Biennale and is increasingly in demand as a cover artist. While the box set is thus a quiver of gorgeous physical objects, the poetry itself is just as arresting as Ehikhamenor’s designs.

Music for the ecoelegaic

Cecily Nicholson's 'Wayside Sang'

Stephen Collis

Cecily Nicholson’s poetry expresses a deep solidarity extended across time and space, and across divisions between the human and nonhuman, animate and inanimate. As I try to prise apart what the term “biotariat” might be made to mean, I find poetry instructive because of its willingness to attend to just such “crossings” and movements amongst and between language’s subjects and objects — to, literally, lay them out on the paratactic page. For a diasporic poet like Nicholson this has something to do with “blackness” — I have in mind Fred Moten’s comment (from In the Break) that “the history of blackness is testament to the fact that objects can and do resist.” Everywhere in her poetry Nicholson is concerned with the resistance of “objects” — of those who have been rendered (reduced to) “objects” through regimes of racialized violence and colonization, and the fluid affinities the variously objectified find and found.