Newark

In audio practice VI

Notes on Baraka recordings

Chris Funkhouser and Amiri Baraka June 2013 photo by Amy Hufnagel — Chris Funkhouser and Amiri Baraka, June 2013, photo by Amy Hufnagel

My wife and I first met Amiri Baraka in November 1997, standing in line to get our tickets to a Betty Carter, Joshua Redman, and Maria João/Mario Laginha concert at New Jersey Performing Art Center in Newark. Baraka was directly in front of us! Both Amy and I had been readers of his work since college, were aware of his intensity, and struck up conversation with him. I explained I had been a student and friend of Ginsberg’s, and that I was living and working in Newark. He told us about monthly salons he and his wife Amina hosted at their home, Kimako’s Blues People, gave us his card, and invited us to come over — which we did many times during the next few years.

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Topsy-Turvy

Charles Bernstein

Topsy-Turvy:
videos + conversations + reviews
linked here.

Touch, love, then explain (PoemTalk #176)

John Ashbery, 'Some Trees'

PoemTalk

John Ashbery, photo by Walter Silver © Photography Collection, The New York Public Library

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Al Filreis brought together Abdulhamit Arvas, Dagmawi Woubshet, and Carlos Decena to talk about one of John Ashbery’s very early poems. “Some Trees,” preceded only by “The Painter” among verse written when Ashbery was an undergraduate at Harvard that the poet chose to keep and publish later, was written during the evening of November 16, 1948. Ashbery was just twnety-one years old. PennSound’s Ashbery page includes several recordings of him reciting this poem.

September 27, 2022

Spelling the amulet, the shape, the poem

CA Conrad's 'Amanda Paradise' and Jewish ritual bowls

Robert Eric Shoemaker

SATOR square — Sator square carved into a painted section of wall plaster, 2nd century CE, Roman, Corinium Museum, Cirencester.

Magic, bottom line, involves intention and effect. Maybe in that order. “The intentional use of language or of gesture for a desired effect” is a pretty basic definition of communication, too, but maybe I mean that communication is magic. As the contentious Crowley quote gives us in this commentary’s introductory text, magic is aligned with the practice (science or art) of causing an effect aligned with intention. Communication is a default action of humans, if we believe Chomsky, so we might as well imagine, for now, that magic is a practice of intention to create effect; in this case, the practice of language. Crafting poetry is a language practice, and the poem is one location where we may see language magic performed.

By performance, I mean the action of language or of ritual. Language is abstract, necessarily, and really becomes effective when used in speech or in writing. Externalized, language as speech or writing becomes an act. Writing must happen or there is no text.