Robert McLean

'Strange Self-Congratulations, Flat Whites': Some notes on Bill Manhire

Robert McLean

Black painting XV, from ‘Malady,’ a poem by Bill Manhire, 1970, by Ralph Hotere. — Black painting XV, from ‘Malady,’ a poem by Bill Manhire, 1970, Dunedin, by Ralph Hotere. Purchased 1971. ©Te Papa. CC BY-NC-ND licence. Te Papa (1971-0024-2).

By international standards all New Zealand publishing is small press publishing. The country is home to only 4.73 million people. If a significant proportion of the adult population supports the authors of cookery and gardening books, such enthusiasm rarely extends to buying titles by novelists, playwrights, and poets.

Coda — An Aotearoa poetic reconsidered

Vaughan Rapatahana

Coda: Towards an Aotearoa Poetic…?

I began this three-month commentary post series with a question as to whether there is or could be an Aotearoa poetic.

I noted back then that I had modified my stance so as to say there seemed to be so many poetry scenes within the country of New Zealand, some thriving, some growing, and one still dominant, that there could not be a single identifiable Aotearoa poetic. I have had no reason to alter this viewpoint as the series went on, only — in fact — to say now even more clearly, that New Zealand has several divergent poetics, not always empathetic to one another …

There are the experimentalists, both within and outside a textual framework. Then there are the poetry slam competitors, whereby orality is king. There are burgeoning Pasifika and Asian groupings, depicting their own tropes and utilising their own languages. There are the fighting small presses and periodicals, staunchly keeping open the possibilities of a poet being published at all, while some more off-the-wall publications — such as Cats & Spaghetti Press — are striving to sustain deep diversity.

Recently in Jacket2

From the Jacket2 team

Publishing during the COVID-19 crisis

Jacket2

Like many of you, we are adapting to increased safety measures around COVID-19 at the University of Pennsylvania and other campuses. Our work here at Jacket2 will likely be delayed and/or interrupted; our publication schedule for both commentaries and J2 content at large will be slower than usual as we adapt to the global pandemic. Many of our editors are working remotely, and we will continue to curate Jacket2 as a space to convene and sustain a life in/through poetry during times of scarcity, stress, and shifting imagined communities. We remain committed to bringing you open access content when institutional access and travel for research become compromised and complicated.

A note from the editors and publishers of Jacket2:

Near/Miss

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.

Amy Catanzano

Quantum poetics (revised and expanded 2020)

Jerome Rothenberg

Amy Catanzano at CERN under the Big European Bubble Chamber in the garden of decommissioned experiments, 2019. For this second visit, she was sponsored as a research artist and funded by the Outreach office of the ATLAS Experiment at the Large Hadron Collider. Catanzano has been awarded funding by Wake Forest University and CERN for a third visit to pursue collaborative projects.

2020 EDITOR’S NOTE. Above is how I handled the presentation of Catanzano’s work a decade ago, not realizing the strides she would make in the intervening years — most notably through a series of interventions and residencies at major observatories and scientific research centers: among them, CERN (the European Organization for Nuclear Research) in Switzerland, the Cerro Tololo Inter-American Observatory in Chile, and the Simons Center for Geometry and Physics at Stony Brook University. From this came a further outflow of work and the composition of poems and poetics that went beyond metaphor to the investigative urgency of Olson’s dictum from Herodotus: “to find out for oneself … instead of depending on hearsay.”

Accordingly, then, along with her own projects, she is collaborating on literary-scientific projects with scientists at CERN and elsewhere and has prepared a revised and expanded edition of all of her essays, and “essay-poems,” on quantum poetics. These include those first published here between 2009 and 2012, accessible now in an updated edition presented by Poems and Poetics. Her author’s note and opening essay of this edition appear below. — Jerome Rothenberg

2009 EDITOR’S NOTE. As is true in many cases, Catanzano’s poetics exists side-by-side with her poems in which the intersection between poetry and science plays itself out in a contemporary, even futuristic, form. The key work at present is her Multiversal (Fordham University Press, 2009), of which Michael Palmer writes by way of introduction: