Aldon Nielsen, "Tray"
LISTEN TO THE SHOW
Aldon Nielsen, William J. Harris, Tyrone Williams, hosted by Al Filreis, convened in the Arts Café of the Kelly Writers House, before a live audience, to discuss Aldon’s poem “Tray.” There are 29 sections in the poem; the group discussed the first 6. In the book titled Tray, published by Make Now Press in 2017, the title poem takes up the first 37 pages; the sections we discussed run to page 14. Usually, of course, we play an audio recording of the poem from we’re about to discuss as archived in PennSound, but on this day, because we had the honor of Aldon’s presence we asked him to perform those sections.
November 29, 2023
Editions and additions
Gertrude Stein and the iterations of the book
In our digital age, the printed book is often seen as resisting the immateriality and inauthenticity of the digital text through its “aura,” “singularity,” “authenticity,” “materiality,” and “bookness”––to cite some key terms from a conference on the future of the book that I attended last year. Even book versions that sit alongside versions in other media––what Marjorie Perloff terms “differential texts”––seem to stress the differences between the book and digital media and so each medium’s materiality.
Yet in a range of poetic practices developed in response to the age of mechanical reproduction and to our digital age, the book becomes a site for exploring––rather than resisting––reproduction and iteration. In the final posts in my “Iterations” commentary, I want to focus on the dual role of the book as both material object and copy, beginning with the work of modernists such as Walter Benjamin and Gertrude Stein before turning to some recent iterative texts that challenge the commonplace contrast between the singularity of the print and paper book object and the repeatability and mutability of the digital text.
The rise of new technologies of mechanical reproduction in the modernist period heightened attention to the book as copy, both in terms of the aura and materiality of the individual copy and as a reproduced non-original object. Gertrude Stein played with these two possible ways of looking at the book through her own press, the Plain Edition, which she used to publish a number of her works in the 1930s.