Pierre Joris

Joris discusses & reads Rushdie's Satanic Verses

Charles Bernstein

Today is the worldwide reading of the works of Salman Rushdie, sponsored by the Berlin Literary Festival. Watch Pierre Joris talk about the attack on Rushdie, with my introduction. Joris's essay was published this month in the Brooklyn Rail. We  both then read from The Satanic Verses -- listen to the audio linked below.

In my rotting place (PoemTalk #162)

Tuli Kupferberg, 'Morning, Morning' and 'No Deposit, No Return'

PoemTalk

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This episode presents a remarkable — freewheeling, energetic, yet comprehensive — discussion of a remarkable artist, Tuli Kupferberg. It is our first in-person recording in quite a while. Charles Bernstein, Rachel Levitsky, Lee Ann Brown, Pierre Joris, and Al Filreis gathered at the Brooklyn home of Susan Bee and Charles. We considered two works by Tuli: “Morning, Morning,” among the most famous songs performed by The Fugs; and one of Tuli’s spoken-word pieces or “pop poems,” titled “No Deposit, No Return.” The latter is the title cut on an album produced and released in 1966. The album was subtitled “An Evening of Pop Poetry with Tuli Kupferberg.” “Morning, Morning” first appeared as a track on the album entitled The Fugs in March 1966. This song and the entire album, along with liner notes, are available on our Tuli Kupferberg page at PennSound, reproduced with the kind permission of Samara Kupferberg.

July 26, 2021

Life-in-death: an agonizing in-between

A review of 'The Agony of I.B.' by Pierre Joris

Adam Sax
Photo of Pierre Joris by Kelly Writers House staff.
Photo of Pierre Joris by Kelly Writers House staff.

We’re all going to die; very few of us will have a death as remarkable — or perhaps as unremarkable — as Ingeborg Bachmann’s. It is against this canvas, the final days of Bachmann’s life as she lay comatose in an Italian hospital, suffering from burns — the result of a fire caused by a wayward cigarette — and the pursuant withdrawal from sedatives, that Pierre Joris sets his play ​The Agony of I.B. (2016)​.

We’re all going to die; very few of us will have a death as remarkable — or perhaps as unremarkable — as Ingeborg Bachmann’s.

Dear beloved humans

Piotr Gwiazda
A still from "Grzegorz Wróblewski do ludzkości." (c) Krzysztof Jaworski.

For eight years now I have been translating the poetry of Grzegorz Wróblewski, a Polish writer and visual artist based in Copenhagen. So far we have published two volumes: Kopenhaga (Zephyr Press, 2013) and Zero Visibility (Phoneme Media, 2017). We are now working on our third project, Dear Beloved Humans: New and Selected Poems. The title poem offers a good example of transposition.

It is time (PoemTalk #107)

Paul Celan, 'Corona'

PoemTalk
Paul Celan. Photo courtesy of Romanian Cultural Institute, London.

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Pierre Joris, Anna Strong, and Ariel Resnikoff joined Al Filreis to talk about Paul Celan’s poem “Corona.” Celan had chosen to continue writing in German after the elimination of Jews from his town and the murder of his parents by the Nazis and their fascist allies — and maintained, to the say the very least, a complex relationship to the mother tongue he kept using with increasingly inventive disfiguration. There was knowledge of the original difficult German in our Wexler Studio, although as PoemTalk is an English-language podcast series we focused on the challenges of the English translation. Our translation was Jerome Rothenberg’s, from his groundbreaking anthology New Young German Poets (1959, City Lights).

December 1, 2016

Healer and hunter

A review of Pierre Joris's 'Barzakh'

Norman Weinstein

In identifying archetypally with healer and hunter, Pierre Joris brings his poems of the twenty-first century into an ever more fervid and restless search mode. Healers and hunters operate under the most severe time constraints, with survival at stake. Which is why Robert Kelly’s sage half-truth “Nothing truer than fragment” needs to be fleshed out. What Joris does with fragments, with increasing acuity decade after decade in his poems, is search and sift among fragments with urgent speed and decisiveness — nomad on the run — to shape fragments so they coalesce into culturally vibrant patterns of meaning.

My father was a healer & a hunter. Is it any surprise I became a poet & translator? (“Nimrod,” 121)

Poetics and the manifesto

On Pierre Joris and Adrian Clarke

Robert Sheppard

The writings writers write about writing have been curiously misread.

Battling the impossibility of being their own readers, writers are drawn to fuzzy logic when it comes to thinking and externalizing their thinking about the purpose, activity, outcomes, and future of writing that results in text that can be unstable in a variety of ways, and is sometimes difficult to read.

August 25, 2014

I'm coming up (PoemTalk #76)

Anne Waldman, 'To the Censorious Ones' ('Open Address to Senator Jesse Helms')

PoemTalk

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Orchid Tierney, Stacy Szymaszek, and Pierre Joris joined Al Filreis to discuss a poem by Anne Waldman sometimes called “To the Censorious Ones” (occasionally with the subtitle “Jesse Helms & Others”) and sometimes in performance called “Open Address to Senator Jesse Helms.” It's been published most prominently in In the Room of Never Grieve: New and Selected Poems 1985-2003 (Coffee House Press; p. 239).

May 1, 2014

Pierre Joris on Celan and the Shoah in 20 minutes

PennSound podcasts

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On December 3, 2013, Pierre Joris discussed Paul Celan’s poetry, with special focus on his response to the genocide of Europe’s Jews and others during World War II. Now PennSound podcasts presents a 20-minute excerpt of the hour-plus-long program. The video recording of the entire event is here, and the whole audio recording is here. The Kelly Writers House web calendar entry for the event can be found here. This episode is #36 in the PennSound podcasts series.

February 13, 2014

Pierre Joris on Paul Celan and the Shoah

Al Filreis

On December 3, 2013, Pierre Joris discussed Paul Celan’s poetry, with special focus on his response to the genocide of Europe’s Jews and others during World War II. The session, which I moderated, featured close readings of passages of “Death Fugue” and “Stretto.” Joris played an audio recording of Celan reading the first section of “Death Fugue,” and a newly discovered video recording made from Celan’s appearance on German television.

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