silence

Conditions of silence

Recovering Gerry Shikatani's 'Sans Titre'

Eric Schmaltz

Source: Japanese Canadian Artists Directory

It’s October 24, 1981. You’re on route to Studio Gallery Nine, located beneath Toronto’s Don Valley Parkway, just north of Queen Street East at 9 Davies Avenue. You’re travelling this route to attend an event hosted by the Kontakte Writers In Performance series. Japanese Canadian poet and cultural critic, Gerry Shikatani, is on the bill.

A slowing 2: Gestures of attention

Leah Souffrant

What can language open when given space? Poetry invites pause, the pause of music, of introspection, of spreading sensitivity. Maggie Nelson reports, in The Art of Cruelty, that John Cage proposed this “exceedingly difficult” advice: “The most, the best, we can do, we / believe (wanting to give evidence of / love), is to get out of the way, leave / space around whomever or whatever it is” (268). What is exceedingly difficult is necessary and important.

Duras & the cinematic novel

The poet's novel

Laynie Browne

The first thing you might notice about The Malady of Death is the visual components to this book. It is slim, only sixty pages of text, like many volumes of poems. On each page the font size is larger than most large-print editions of books. I measure the opening capitol “Y” beginning “You” at one-half of a centimeter. The page that appears the fullest contains one-hundred and sixteen words. A page appearing one of the sparest contains sixty words. Section breaks appear as multiple paragraph breaks, a multitude of white space, and an occasional asterisk.

'But do we need to know a second language to translate?'

Erín Moure

There is a sense in which every reading of a text by an individual is a translation, because ink and paper, or pixellated light and darkness, are “read” through a body, an individual apparatus impossible to replicate in terms of its cells and experiences and the ways that experience has affected its neural maps and capacities. This body may not even know its own filters and how they act when it “reads”. Because of this, we can study literature, which is the act of sharing readings and benefitting from other filters: in reading groups, in university classrooms and cafeterias and libraries, and on-line with brilliant teachers, in cafés, in living rooms, on ferries, at bus stops.

One question I am sometimes asked is: given this, is it possible to translate without having a second language? It’s a sly question, for people know very well that Elisa Sampedrín, my nemesis-polynym who has no interior, has done this.

Recently in Jacket2

Topsy-Turvy

Charles Bernstein

Please buy the book directly from the publisher, University of Chicago Press, or a local bookstore, including Bridge Street Books, SemCoop, Talking Leaves, Indiebound, McNally-Jackson, and Bookshop.Org.

176 pages, paper and ebook. Audiobook is from Chicago and Amazon/Aubible.

Teaching Is Listening

on teaching poetry for Guanzhou University

Charles Bernstein

I made this short video for a conference on teaching English language poetry, sponsored by Guangzhou University, July 2, 2022. Li Zhimin has created an online course, partly based on Al Filreis's ModPo. This meeting is an extension of that course. In the video, I mention the Poem Profiler and Wreading Experiments; for more on this topic, see Attack of the Difficult Poems.

Lyric shard as grief's material

A review of Diana Khoi Nguyen's 'Ghost Of'

Kelly Hoffer

Part archive, part elegy, Diana Khoi Nguyen’s debut collection of poetry, Ghost Of, presents the haunting portrait of a grieving family set against a backdrop of intergenerational trauma. Written four years after the poet’s brother took his own life, Nguyen’s poems register this loss as it is refracted through the story of her parents’ immigration to the US as refugees in the wake of the Vietnam War.