Kristen Gallagher, Kerry Sherin Wright, and Joshua Schuster converged on Philadelphia to help us celebrate twenty years of the Kelly Writers House. Al Filreis took the opportunity of this reunion of KWH founders to convene a PoemTalk session on the work of a fourth founder — Michael Magee. This was Magee in his pre-Flarf days, the late 1990s. He was finishing a doctoral dissertation on Emerson, pragmatism, Ellison, and jazz; was beginning a relationship with the person, now his partner, who had created the Kensington Needle Exchange; and was taking long, daily morning Emersonian/Whitmanian constitutionals, walking the city incessantly described as the cradle of constitutional democracy. The book of poems resulting from these experiences was Morning Constitutional.
Note: The writing of the philosopher and art historian Georges Didi-Huberman is so tightly bound up with images, so rich in ways of seeing, that it may sound odd to say that he first mattered to me as an invisible voice on the radio, long before I familiarized myself with his books.
In November 2014, a representative sample of Canada’s avant-garde gathered in St. Catharines, Ontario, at the Avant Canada: Artists, Prophets, Revolutionaries conference to map out the state of experimental writing today and for the future. A major focus of the event was Indigenous poetics and politics, including the keynote address by Stó:lõ First Nations elder, philosopher, and author Lee Maracle. Her apposite message to the future-oriented, mostly settler audience was to remember: remember how and why your families came to Canada, remember who was here to greet them, remember the violence of displacement and the violence of the passage across the Atlantic.
Note: Public Access Poetry was broadcast on Manhattan Cable TV from 1977 to 1978. The show was independently produced by a group of poets associated with the St. Mark’s Poetry Project — a team consisting of Greg Masters, Gary Lenhart, David Herz, Daniel Krakauer, Bob Rosenthal, Rochelle Kraut, and Didi Susan Dubelyew.
Although we can debate the historicization of literary modernism, particularly by attending to its formal rather than authorial delineations, it is less contestable to suggest that it had a prominent position in the cultural life of the 1930s. This was, of course, the decade of Pound’s Cantos, Beckett’s Murphy, Joyce’s Finnegan’s Wake, and Stein in America.Perhaps this canonized imperative declined somewhat in subsequent decades, but arguably it is not until the 1960s that we see modernism’s replacement in high culture; hence, Charles Olson’s letter to Bob Creeley about his generation being “postmodern.” The 1960s, of course, sees the flowering of a whole raft of poetries, not least among them ethnopoetics, with Jerome Rothenberg’s seminal Technicians of the Sacred being published in 1969. But what of the prehistory of the field of ethnopoetics?
The ordering myth of Sophie Cabot Black’s The Exchange is that of Abraham and Isaac, from Genesis 22. The Lord asks of Abraham a sacrifice, in return for the promise of chosenness, a future. God demands Abraham kill his son Isaac as an offering to be burnt; Abraham is prepared to obey. At the last moment, an angel stays Abraham’s hand. Having passed the Lord’s test, Abraham is permitted to offer a lamb, instead of Isaac, as blood sacrifice.
Over the course of five voluminous issues, Calque published a tremendous set of translations of new and archival works with an emphasis on the transformative poetics of translation as a creative act. In an editorial introduction to the first issue, coeditor Brandon Holmquest notes: “We queried a prominent academic in the field [of translation] who, in response, assured us that the kind of journal we were planning ‘doesn't, and can’t, exist in English.’ This was precisely the motivation we required.”
Remarkably few volumes of poetry by Juan Gelman have been translated into English. This is perhaps because of the unique challenges inherent in translating his work, known for its neologisms, playful and musical language, and political exploitation of ambiguity — Gelman once wrote to his translator, Lisa Rose Bradford, “To be sure is a sickness of our times.”
Remarkably few volumes of poetry by Juan Gelman have been translated into English.
Book by book, Peter Gizzi has made propulsive advances in style and range. Poems sprawl longer, blaze forth brighter in rich fluidities of argument, bare riddling surfaces of ever-more-intricate logic and sound, and all the while offer readers fuller, faster, more enterable poetic experiences. Meanwhile, the gradual emergence of an authorial alter-ego in these poems — an obdurate speaker grounded in quotidian observation, prone to political outbursts, romantic — this signature persona becomes, for the reader, a companionable figure.
Book by book, Peter Gizzi has made propulsive advances in style and range. Poems sprawl longer, blaze forth brighter in rich fluidities of argument, bare riddling surfaces of ever-more-intricate logic and sound, and all the while offer readers fuller, faster, more enterable poetic experiences.