The title of this work in progress adds “Romantic” to the title of a little book of polemics on poetry by the Chilean master of “sky” poetry, Vicente Huidobro. I propose: gather 75 or so statements, terms, and jargon from the “Romantic mother-lode” (Anne Waldman) with the hope that together, with accompanying commentary, they will accumulate irrefutably a major well-spring for modern and contemporary innovative poetry. In one sense Romantic Manifestos Manifest brings to attention the underpinnings of Poems for the Millennium, Volume Three, Jerome Rothenberg’s and my anthology of Romantic poetry broadly conceived as a radical poetic formation — even as a guide, a skeleton key, for that book. Taken together, the items here compose a “field of thought” (Feld von Gedanken, Herder) of what Julie Carr and I have called active Romanticism.
[Pairingsis a sequence in which two (sometimes more) poems meet on the page in the way that persons might meet on the street. For the most part, they stand across the page from one another in the way that people stand across from one another as they speak. They have things in common and things that separate them. In many ways they illuminate each other. The “unit” in these pieces is not the individual poem but the meeting — sometimes the collision — of the poems.
From publisher’s site: Interglacial Narrows as published by Contra Mundum Press gathers a range of Pierre Joris’s poems written between 2015 and 2021, including an extended version of the Book of U / Le livre des cormorans by Joris and Nicole Peyrafitte, initially published by Galerie Simoncini in Luxembourg in 2017. Both central to the book and opening up its timelines is the section “Homage to P.C.” Put together in 2020 to celebrate Paul Celan’s one hundredth birth-year, it gathers poems, the earliest of which dates from 1969, and the most recent from November 23, 2020, the day Celan would have turned one hundred years old. All of these poems address Joris’s relationship to the Bukovinian poet and his work. Core to this section is “The Book of Luap Nalec,” which dates from the later ’70s, was published as a now lost chapbook in 1982, and was included in Breccia (Editions PHI) in 1987.
1/ Interglacial Narrows (poems)
From publisher’s site: Interglacial Narrows as published by Contra Mundum Press gathers a range of Pierre Joris’s poems written between 2015 and 2021, including an extended version of the Book of U / Le livre des cormorans by Joris and Nicole Peyrafitte, initially published by Galerie Simoncini in Luxembourg in 2017.
Both central to the book and opening up its timelines is the section “Homage to P.C.” Put together in 2020 to celebrate Paul Celan’s one hundredth birth-year, it gathers poems, the earliest of which dates from 1969, and the most recent from November 23, 2020, the day Celan would have turned one hundred years old. All of these poems address Joris’s relationship to the Bukovinian poet and his work. Core to this section is “The Book of Luap Nalec,” which dates from the later ’70s, was published as a now lost chapbook in 1982, and was included in Breccia (Editions PHI) in 1987.
For me, language, by its very operation, is alchemical, mesmeric, totalic in the way that it condenses and at the same time proves capable of leaping the boundaries of genre. Be it the drama, the poem, the essay, the novel, language operates at a level of concentration modulated by the necessity of the character or the circumstance which is speaking. My feeling is that language is capable of creating shifts in the human neural field, capable of transmuting behaviors and judgments. (W.A.)
A lifelong resident of Los Angeles, Alexander was till late in his career very little published, but his work has since opened up to assessments of his special and far-reaching view, like that, e.g., by Eliot Weinberger: “His work resembles no one’s, and is instantly recognizable. In part, he is an ecstatic surrealist on imaginal hyperdrive. He is probably the only African American poet to take Aimé Césaire as a spiritual father (and behind Césaire, Artaud, and Lautréamont). But he is also a poet whose ecstasy derives from scientific description of the stuff and the workings of the world.”
All error proceeds from ignorance (or haste)
— Fernando Pessoa
Our circumstance is fouled by protracted haste, by that which
aspires to some form of clinical security. I am thinking of the quest
to inhabit Mars within a foreseeable time frame. The question arises,
does susurration amongst the Northern elite strive for an isolate
colony where populace from the Southern cone is surgically omitted?
This is something to contemplate given the prevailing wreckage that
now consumes all corners of the Earth rife with chronic patterns of
extinction that ranges from the condition of bees to the ominous
breakage of icebergs, to the volatile scattering of humans from refuge
[EDITOR’S NOTE. The following “event scores” are a reminder of the pivotal role played by Alison Knowles in what can be described in retrospect as the Fluxus revolution of the 1960s. With their deceptively simple surface, Knowles’s performance works exemplified the thrust of many artists, poets, and performers to build on what Allan Kaprow and John Cage spoke of as an erasure of the boundaries between art and life.
Poems and poetics