Richard Tuttle

The swerve of verse: Lucretius' 'Of Things' Nature' and the necessity of poetic form

The de-versification of Lucretius -- treating it as prose -- is an unintended theme of the most famous contemporary account of Of Things' Nature, Stephen Greenblatt's The Swerve: How the World Became Modern (2011). Greenblatt begins The Swerve with an account of his youthful discovery of Lucretius through Martin Ferguson Smith's excellent prose translation. Greenblatt pretty much sticks to citing this prose version throughout his book, despite his nod to Dryden as the best for conveying Lucretius's "ardor" and also noting that he consulted all the translations.

Richard Tuttle on Sanskrit and Islam — at Naropa University, Summer 2016

New at PennSound

Charles Bernstein

“What Sanskrit Means to Me”

Questioning the gender of textiles

Jill Magi

At the On Kawara show at the Guggenheim New York, at the New Museum downtown, in the MoMA’s contemporary galleries, and its “The Forever Now: Contemporary Painting in an Atemporal World” exhibit, I notice many instances of a poetics of making situated in textiles. This is exciting to notice, and it may have been there all along. It is my awareness that has changed. Pictured above, for example, is an obvious seam: a crucial sewn element in the work of contemporary painter Oscar Murillo, whose installation I will write more about in this commentary.

David Antin, Eleanor Antin, Richard Tuttle, Charles Bernstein at Zinc Bar in Nov. 2013

new at PennSound

Charles Bernstein

New York art walk

Richard Tuttle, Julio Galan, Donald Judd, Chaim Soutine

Charles Bernstein

Soutine/Bacon, Helly Nahmad Gallery
be sure to check out the "virtual tour"
Two by Soutine (second is my detail):

Portrait of a Man with a Felt Hat, c. 1921–22

Richard Tuttle and Mei-Mei Berssenbruge

New York poetry reading, Dec. 18, 2010

Charles Bernstein

Ricard Tuttle Mei-mei Berssenbrugge
Tuttle gave a very rare poetry reading with Berssenbrugge at the Sue Scott Gallery in New York,

Recently in Jacket2

Near/Miss launches

Charles Bernstein

New from University of Chicago Press: paper, cloth, e-book
Audible.com has also published an audiobook of my reading of the full work.

Janky materiality

Artifice and interface

Jeff T. Johnson

We live in machines but are not machines. Restless forms imagine new presents, where past and future meet. As becoming-digital beings, we retain and engage the problem of embodiment, which needs a world, needs other forms, needs to die. Death is our stake: neither early nor late.

Poetry is music, and nothing but music. — Amiri Baraka

Poetry is heard; it is the heard thing. — Erín Moure

Materiality and embodiment

September 13, 2019

Twenty Theses for (Any Future) Process Poetics

Postscript // Bibliography // Acknowledgments

Michael Cross

T.1 The poem is ontologically dissevering: necessarily fragmenting and framentary.

T.2 Holding concretized, ready-made “significance” and in abeyance, the poem functions as a catch, an apparatus used to observe the manifestations and codeterminations of entangling and unfurling world(s).

T.3 So as to render inoperative those ossified subject-configurations most exploitable by market vampirism, the poem tears back the veil of the “real” (where flesh meets fluorescence: body/world) to point to the rachitic frame-structure bolstering becoming.

In order to celebrate the conclusion of “Prolegomena to (Any Future) Process Poetics,” I’d like to provide a postscript that distills the central concerns of these twelve dense riffs into a series of pointed propositions. The following twenty theses comprise the core of this thinking and will act (I hope) as a lens for future rereading. Thank you, dear readers, for engaging with/in this work.