Note: This interview with Caroline Bergvall took place at our first meeting on 2 December 2010, Birkbeck College, Gordon Square, London. We low-fi recorded the interview in Audacity through the inbuilt microphones on a Mac. I edited the sound files in Protools (Amsterdam, March and November 2011). — Rozalie Hirs
Note: I first discovered the poetry of John Wieners, seminal Boston poet and peripheral member of the Beat generation, during my undergraduate studies at the University of Massachusetts. As I continued my relationship with his poetry, the idea further cemented in my mind of the solitary voice, becoming clear to me that the work Wieners has amounted through associations, with Charles Olson and the Black Mountain school, with Ezra Pound in Spoleto, Ginsberg in New York and among friends in Beacon Hill, is of significant and lasting artistic achievement.
I’ve been reading reviews of your books — and what are reviews if not testimonies to such-and-such-a-thing happening to a reader— and what a way to hear you again, in yet another kind of crowded room, after a flash of a chat in Buffalo when you came here to read (it was not snowing, there were nachos) — and what is a reading if not testimony to such-and-such-a place gasping around the voice of a poet — and there are two such ones that I want to begin by reciting here.
Note: That the critic and the poet should be the same person is not a surprise when it comes to the work of Bill Berkson. Both activities have fruitfully informed one another over five decades of writing. What remains engaging in all of Berkson’s writing is how each poem and how every essay continues to be so distinctively and affectionately rendered.
Editorial note:Marjorie Perloff is the author of Unoriginal Genius: Poetry by Other Means in the New Century, The Vienna Paradox: A Cultural Memoir, and Differentials: Poetry, Poetics, Pedagogy, among numerous other books, essays, and reviews.