When I was thinking about a motif or query that could help focus my Commentaries here at Jacket2, I kept returning to a central question about time. The way that we experience and imagine time is directly shaped by the quality of our attention and the terms of our engagement. There are many areas of interest through which I could engage this experience of time (film, for example), but while commentating here, I shall limit myself to the way that language operates in poetic contexts.
The Manifestos and Essays from Theater Communications Group, from Theater Communications Group -- includes all Foreman's early essays, starting in 1972 (from Performance, October, TDR, PAJ) plus two new interviews and "film notes."
Plays with Films, ed. Rainer J. Hanshe, intro. George Hunka .Texts of the final three productions of Richard Foreman’s Ontological-Hysteric Theater at St. Mark’s Church-in-the-Bowery: Zomboid! (2006), Wake Up Mr. Sleepy! Your Unconscious Mind is Dead! (2007), and Deep Trance Behavior in Potatoland (2008).
John Richetti recently returned to PennSound’s studios and recorded a selection of poems by Keats, Shelley, Blake, Wordsworth, Byron, and Coleridge. Here is a link to the new page in the “PennSound classics” section of the archive.
Co-winner of the Ralph Gustafson Poetry Award and born and raised in Regina, writer Judith Krause is the current and fifth Poet Laureate of Saskatchewan, an appointment that acknowledges her having “meaningful connections with other writers and experience organizing occasions for thinking about poetry differently” and that includes her teaching experience at Sage Hill, an inspirational place for visiting writers. In an interview with The Leader Post, Emma Graney indicates that Krause’s main goal is to raise the profile of Saskatchewan poetry and “celebrate the spirit of poets” in the province, despite the genre's “quiet profile.” In her most recent collection Mongrel Love, we may admire her uncanny mix of wry humour and mammalian sympathies that Dante Alighieri would surely agree flow along absolutely caninamente.
Time Text Body Noise
The way the line never ends
When I was thinking about a motif or query that could help focus my Commentaries here at Jacket2, I kept returning to a central question about time. The way that we experience and imagine time is directly shaped by the quality of our attention and the terms of our engagement. There are many areas of interest through which I could engage this experience of time (film, for example), but while commentating here, I shall limit myself to the way that language operates in poetic contexts.
Essential Foreman: Two new books by Richard Foreman
The Manifestos and Essays from Theater Communications Group, from Theater Communications Group -- includes all Foreman's early essays, starting in 1972 (from Performance, October, TDR, PAJ) plus two new interviews and "film notes."
Plays with Films, ed. Rainer J. Hanshe, intro. George Hunka . Texts of the final three productions of Richard Foreman’s Ontological-Hysteric Theater at St. Mark’s Church-in-the-Bowery: Zomboid! (2006), Wake Up Mr. Sleepy! Your Unconscious Mind is Dead! (2007), and Deep Trance Behavior in Potatoland (2008).
Shelley, Keats, Wordsworth, Blake et alia now at PennSound
John Richetti's newest contribution to 'PennSound classics'
John Richetti recently returned to PennSound’s studios and recorded a selection of poems by Keats, Shelley, Blake, Wordsworth, Byron, and Coleridge. Here is a link to the new page in the “PennSound classics” section of the archive.
Clayton Eshleman, from PENETRALIA: “The Dream’s Navel”
For Stuart Kendall
Gotham Bar & Grill in Manhattan, dining with Caryl, Cecilia & Jim.
At a table near ours, alone, a woman in whose face I saw the face of death.
At one point she turned toward me:
I could only stay in her black ray lane a few seconds.
Geomantic Riposte: Mongrel Love
Co-winner of the Ralph Gustafson Poetry Award and born and raised in Regina, writer Judith Krause is the current and fifth Poet Laureate of Saskatchewan, an appointment that acknowledges her having “meaningful connections with other writers and experience organizing occasions for thinking about poetry differently” and that includes her teaching experience at Sage Hill, an inspirational place for visiting writers. In an interview with The Leader Post, Emma Graney indicates that Krause’s main goal is to raise the profile of Saskatchewan poetry and “celebrate the spirit of poets” in the province, despite the genre's “quiet profile.” In her most recent collection Mongrel Love, we may admire her uncanny mix of wry humour and mammalian sympathies that Dante Alighieri would surely agree flow along absolutely caninamente.