Jacques Roubaud

A slowing 9: Necessary unsayability (or: what the poetic makes)

Image: looking back is for the birds (detail), 2012 by Jennifer Wroblewski

At some point, yesterday or long ago, you read a poem and something happened to you: and you thought, or you didn’t quite think: yes. And this affirmative recognized a need, or a touch, or more precisely an answer to a question you hadn't even asked. The question hadn’t existed until the work appeared to create it, opening that space, revealing a gap.

Claude Royet-Journoud, Jacques Roubaud, & Anne Portugal: videos

filmed by François Sarhan, Paris, 2012

Charles Bernstein

Claude Royet-Journound
Royet-Journoud reads "A la ressemblance des bêtes" from Théorie des prépositions, P.O.L, 2007
"Kardia," Eric Pesty éditeur, 2009
"Asservissement de l'air à son vacarme," A la Pension Victoria, 2011

Recently in Jacket2

Near/Miss launches

Charles Bernstein

New from University of Chicago Press: paper, cloth, e-book
Audible.com has also published an audiobook of my reading of the full work.

Janky materiality

Artifice and interface

Jeff T. Johnson

We live in machines but are not machines. Restless forms imagine new presents, where past and future meet. As becoming-digital beings, we retain and engage the problem of embodiment, which needs a world, needs other forms, needs to die. Death is our stake: neither early nor late.

Poetry is music, and nothing but music. — Amiri Baraka

Poetry is heard; it is the heard thing. — Erín Moure

Materiality and embodiment

September 13, 2019

Twenty Theses for (Any Future) Process Poetics

Postscript // Bibliography // Acknowledgments

Michael Cross

T.1 The poem is ontologically dissevering: necessarily fragmenting and framentary.

T.2 Holding concretized, ready-made “significance” and in abeyance, the poem functions as a catch, an apparatus used to observe the manifestations and codeterminations of entangling and unfurling world(s).

T.3 So as to render inoperative those ossified subject-configurations most exploitable by market vampirism, the poem tears back the veil of the “real” (where flesh meets fluorescence: body/world) to point to the rachitic frame-structure bolstering becoming.

In order to celebrate the conclusion of “Prolegomena to (Any Future) Process Poetics,” I’d like to provide a postscript that distills the central concerns of these twelve dense riffs into a series of pointed propositions. The following twenty theses comprise the core of this thinking and will act (I hope) as a lens for future rereading. Thank you, dear readers, for engaging with/in this work.