Al Filreis convened a conversation with Amber Rose Johnson, Jacob Edmond, and Huda Fakhreddine about Kamau Brathwaite’s “Negus.” The poem was included in the book Islands, published by Oxford in 1969. “Negus” appears as part six of a section of the book titled “Rebellion” within Islands, and Islands, in turn, is part two of The Arrivants: A New World Trilogy, which includes Rights of Passage and Masks as the first and third volumes. Brathwaite’s PennSound page — which has been curated by one of our PoemTalkers, Jacob Edmond — features just one recording of Brathwaite performing this poem. On May 1, 2004, in his Segue Series reading at the Bowery Poetry Club in New York City, the poet chose to read “Negus” as a kind of prefatory piece to the whole forty-three-minute reading. It certainly seems to introduce several of Brathwaite’s major concerns.
Caroline Bergvall is a writer, artist, and performer who works across artforms, media and languages. The recipient of many international commissions, she is a noted exponent of writing and performance methods adapted to contemporary audiovisual and contextual situations as well as multilingual identities and translocal exchange.
How many days is it? I’ve lost track — feel stuck and unmoored at the same time. This day, May 3, 2020, feels like day one of the lockdown — it could as well be day one hundred, or day thirty, despite the recent advisories that certain businesses will be allowed to reopen. This balmy Spring day of 20 degrees Celsius actually marks the seventh week and the fifty-second day of the lockdown here in Toronto.
Sometimes I feel my soul harrowed by this experience …
In order to understand Caribbean Coolitude poetics, one might review the local poetics to illuminate context. Coolitude uses Caribbean poetics — broadly created by and maintained by black intellectuals. Coolitude would be nowhere without its ancestor and kin, Négritude. A question arises: is the Caribbean as one geopolitical space and how have the histories of different colonizers’ languages created disparate yet united experiences in the Antillean archipelago?
Since I’ve been offering commentaries about multilingualism for several months now and haven’t yet devoted any time to addressing poetries that use nonstandard varieties of English, I want to turn my attention to that particular elephant in the room. The question of what type of language poetry should use is, to employ another familiar expression, as old as the hills. Debates over what Wordsworth called “the real language of men” and its place in, or relation to poetry are at once passé and radically contemporary — a source of perennial debate.
This past summer, the publication of Daniel Tiffany’s essay “Cheap Signaling” drew renewed and welcome attention to the question of poetic diction and how it ought to relate to “real” language. Tiffany explores a wide array of contemporary poems that use a “fabricated language of the ‘underneath’” to queer “the diction of poetry,” mixing “a nice tranche of idiomatic talk” with the “glam-tags of theory.”
For all their twists and spin, poets like Kamau Brathwaite and Charles Bernstein seem strikingly direct in their politics when compared to Vanessa Place and her poetics of iteration. Where in a work likeWorld on FireBernstein clearly attacks the US invasion of Iraq, Place, like some other conceptual writers, seems to reject the idea that we might change the world by transforming our language. Indeed, at times Place takes direct aim at texts that seek a revolutionary change in the social order.
For instance, in her “Boycott Project,” Place reproduces feminist classics such as Simone de Beauvoir’s The Second Sex with all female-gendered words replaced by their male counterparts. (See Place’s The Father & Childhood.)
In the essay “The Conspiracy of Us” (first published in 1979, in L=A=N=G=U=A=G=E),Charles Bernstein anticipated a key driver of the iterative turn in contemporary poetry when he described his anxiety about collective identity and action and argued for the revolutionary power of poetry to disrupt the certainty of our collective positions.
In this commentary, I will explore what I term the “iterative turn” in contemporary poetry. I take iteration to encompass a range of poetic practices, including repetition, sampling, performance, versioning, plagiarism, copying, translation, and reiterations across multiple media. I will focus here especially on how iterative poetry engages forms of political, economic, linguistic authority and their intertwinement with questions of media. The iterative turn in poetry can be understood not just as a shift in rhetorical form but also as an ethical and political response to the crisis in authority engendered by the rise of new technologies of reproduction and the increasing pace of globalization since the late 1980s. In the posts that follow, I will map out just a few of the many forms that this response takes under four broad headings: revolution, copyright, translation, and the book.