Piotr Gwiazda

I proselytize for Tadeusz Różewicz (1921–2014) and his poetic legacy as a new convert, not with unique insight into his importance or his poetics. That I leave to the eleven Polish poets sampled here (and several translators), who can testify better than I can.

November 24, 2015

Grzegorz Wróblewski and Różewicz

Piotr Gwiazda

In the interview published last year in this magazine, Polish poet, writer, and dramatist Grzegorz Wróblewski refers to Różewicz as a “great poet” and “genuine innovator.” It would be accurate to say that much of his own poetry, which he has been writing since the early 1980s, builds on Różewicz’s example. In many of his poems Wróblewski adopts an austere and straightforward style.

November 24, 2015

Five Poems by Grzegorz Wróblewski (b. 1962)

Grzegorz Wróblewski

Piotr Gwiazda

Decline

YOU LIVE WITHOUT GOD FOR THERE IS NO GOD

THEY TOOK GOD FROM US GOD’S BLOOD IS FLOWING

YOU DON’T BELIEVE IN GOD BECAUSE OF GOD

FOR THERE IS NO GOD HAS ANYONE SEEN GOD?

PRAY TO OUR GOD THE TERRIBLE GOD

THEY MURDERED OUR GOD YOU DON’T BELIEVE IN GOD

BRING BACK OUR GOD! WE WANT OUR GOD!

November 24, 2015

'The passenger syndrome'

An interview with Grzegorz Wróblewski

Grzegorz Wróblewski

Piotr Gwiazda

Note: In early April 2014, Polish writer and painter Grzegorz Wróblewski gave readings from his book Kopenhaga (trans. Piotr Gwiazda, Zephyr Press, 2013) at Columbia University, Cambridge Public Library, Rhode Island School of Design, and the University of Massachusetts, Amherst.

August 28, 2014

Standstill moments

A review of Piotr Gwiazda's 'Messages'

Robert Manaster

In his first book, Gargarin Street (2005), Piotr Gwiazda, after “meandering slowly from nowhere to nowhere”[1] in a self-deprecating manner, after revealing his motto “Give Chance a chance” (36), and after postulating,

What if the script of human life is full of typos,

missteps, mishaps, false starts, false alarms,
wrong turns, dead ends, distractions, digressions —[2]

Recently in Jacket2

Every flower a reminder (PoemTalk #202)

Harryette Mullen, "Chasing Dirt"

PoemTalk

From left: Laynie Browne, Harryette Mullen, Simone White

LISTEN TO THE SHOW

Simone White, Harryette Mullen, and Laynie Browne joined Al Filreis to talk a six-page section of Harryette’s new book Open Leaves. The book, subtitled “poems from earth,” was published by Black Sunflowers Poetry Press of London in 2023. The section discussed by the group is titled “Chasing Dirt” and consists of two epigraphs, a prose-poem paragraph, a mixed media artwork titled Silent Talks by Tiffanie Delune, and a sequence of three-line poems across four pages of four poems each. Since PennSound’s Harryette Mullen author page did not yet include a recording of Harryette performing poems from Open Leaves, we asked her to read “Chasing Dirt” at the start of the recorded session. The pages from Open Leaves are available HERE.

November 20, 2024

The &vs. (andverse) of the Gurlesque

Becca Klaver

Electric Gurlesque, like the first edition of the anthology, is centered on an idea of the Gurlesque as a feminist aesthetic that emerges most prominently in American women’s poetry at the turn of the 21st century. The braided strands of the Gurlesque — which the subtitle of the first edition identified as “grrly,” “grotesque,” and “burlesque”— come together to form one complex aesthetic strategy, and also suggest the diverse avenues of inquiry pursued by the essayists in this section.

The following is the Preface to the Essays from the new anthology Electric Gurlesque published by Saturnalia Books in 2024. The complete anthology can be found here.

November 19, 2024

Anna de Noailles, translated by Chris Mustazza

Charles Bernstein

Anna de Noailles (1876-1933) was one of the most famous French poets of her day. While her work has mostly fallen out of fashion, I’ve opted to translate this poem because it was one of (if not the) first poems ever recorded to sound by a female poet. Her recording at the Sorbonne, made in the early 1920s, causes this ars poetica to realign itself with the performance of the poem rather than the written text. It speaks to pertinent questions of posthumous reception and the archive, through a light, playful, sexual mode: the nachlass as seduction. --Chris Mustazza