Ken Ruthven

Ern Malley

Brilliant hoax poet

John Tranter

Man believed to be Ern Malley, Sydney to Melbourne night express, 29 April 1941, Sun Photo Archive.

Jacket 17 is perhaps my favorite among all the forty glittering habiliments; exploring a dozen aspects of fakery and forgery, which one distinguished contributor identifies as the very heart of poetry. The jewel in the crown of Jacket 17 is the Ern Malley hoax of 1943: it inspired Ashbery as a young man, and opened the world’s eyelids to the dark energy from the bottom of the planet. Here it is, in relentless detail:
Faking Literature: Patrick Herron: Ken Ruthven’s Faking Literature (and Ern Malley)
Faking Literature: The Bibliography Ken Ruthven: — 25 pages of rare and hard-to-find source materials (including Ern Malley)
Girls on the Run: Michael Leddy: Lives and Art: John Ashbery and Henry Darger (and Ern Malley)
John Ashbery and John Kinsella and John Tranter (and Ern Malley) — ‘The Ern Malley poems’

Ern Malley Feature
Ethel Malley — Letter to Max Harris, 28 October 1943
David Lehman — The Ern Malley Hoax — Introduction

Recently in Jacket2

Milton Resnick 1917–2004 / four poems recovered

Jerome Rothenberg

[Milton Resnick was a very visible and dynamic artist when we met him in the early 1960s, but beyond that he was also a persistent practitioner of poetry, less in a public sense than as a release for ideas and feelings that were a necessary supplement to his life’s work as a painter.

Continuing a body

A review of Bhanu Kapil's 'entre-Ban'

Colin Lodewick

Bhanu Kapil (right) with Lucas de Lima at Kelly Writers House, September 27, 2016. Photo by Writers House staff.

“What is Ban?” The poet imagines an answer, asserting (among other things) that Ban “is a warp of smoke.”

Bhanu Kapil’s 2015 book Ban en Banlieue is a novel of meandering lists. The second (and largest) section of the book, titled “Auto-sacrifice (Notes),” is one such list, and it includes other lists within itself. The notes are less notes than collapsed vignettes offering insight into historical trauma and the creative process of articulating harm both physical and emotional. The notes work together to create a ragged narrative, one that seems contingent on a certain character — “Ban” — but also independent in itself.

Mikhl Likht, from 'Procession IV'

Proem and Poem [Adam Kadmon], with endnotes

Jerome Rothenberg

The translation of Likht’s “Every New Poet: Proem” will appear in Global Modernists on Modernism, a two-hundred-thousand-word anthology of texts — manifestos, essays, prologues, statements, forewords, letters, etc — by modernists across the arts, with an emphasis on texts that reflect on the theory and/or practice of modernism in a range of national, transnational, indigenous, regional, diasporic, and stateless contexts.

Translation from Yiddish by Ariel Resnikoff and Stephen Ross

[Every New Poet: Proem]