During this time of slowed publication, we at J2 want to highlight some books from our (digital) reviews shelf. Today’s title on our radar: Defacing the Monument, by Susan Briante (Noemi Press, 2020). If you’d like to submit a review of this title for consideration, please let us know: jacket2.org/contact
[Text of image above: “From Noemi Press: ‘[Defacing the Monument is] an attempt to bear witness to what happens to those who do not hold the “correct” documents as a way to show texts always bear the marks of power. Part documentary act, part lyric essay, part criticism, Defacing the Monument enacts the possibilities and limits of documentary impulses.’”]
As afore (in Part 1), the only way to freedom is song.
I enacted this recently:Song is whatever you make of it, which is its power (you), even the star-spangled one of the doomed empire, as in one of my cocurator Michael Ruby’s interruptions:
O magic property say the stunning can people perform you break and see the svelte
Marjorie Perloff reads her translation of a poem from Paul Celan's FADENSONNEN (1965), and the original, for today's Celan Centennial reading for NYU's Deutsche Haus.
Editorial assistant Quinn Gruber reviews three multitudinous poetry titles: Ringing the Changes by Stephanie Strickland; Repetition Nineteen by Monica de la Torre; and Illusory Borders by Heidi Reszies. Of Strickland's book, Quinn writes: Ringing the Changes sounds through the highly precise patterns of English bell ringing, producing a “work that transgresses the boundary between thought as act and thought as content.” A series of twenty-three “bells” of text resonate in “many different interlocking dimensions” of climate change, racial justice, art, and performance; in the unique changes, “each of these pocket universes of social and economic reality has its own structure and forms, its own space and geometry.” In the overwhelming crises of the present, Strickland reminds us what the body can do: “It can reach out. It can look up.”
Jerome Rothenberg
'Reading Celan' (1959, 1995, 2020) for the hundredth anniversary of Paul Celan's birth
First read at International Paul Celan Symposium, Maison des Ecrivains,
Paris, 1995
Reposted & rededicated to Pierre Joris, il miglior traduttore, 2020
On our radar: 'Defacing the Monument' by Susan Briante
During this time of slowed publication, we at J2 want to highlight some books from our (digital) reviews shelf. Today’s title on our radar: Defacing the Monument, by Susan Briante (Noemi Press, 2020). If you’d like to submit a review of this title for consideration, please let us know: jacket2.org/contact
[Text of image above: “From Noemi Press: ‘[Defacing the Monument is] an attempt to bear witness to what happens to those who do not hold the “correct” documents as a way to show texts always bear the marks of power. Part documentary act, part lyric essay, part criticism, Defacing the Monument enacts the possibilities and limits of documentary impulses.’”]
In the diamond at the heart of the moon: An item and sixty-nine notes on the US elections, part 2
by Sam Truitt
An Item: The Only Way to Freedom is Song
As afore (in Part 1), the only way to freedom is song.
I enacted this recently:Song is whatever you make of it, which is its power (you), even the star-spangled one of the doomed empire, as in one of my cocurator Michael Ruby’s interruptions:
O magic property say the stunning can people perform you break and see the svelte
Paul Celan at 100: Marjorie Perloff tribute
Marjorie Perloff reads her translation of a poem from Paul Celan's FADENSONNEN (1965), and the original, for today's Celan Centennial reading for NYU's Deutsche Haus.
DEINE AUGEN IM ARM, YOUR EYES IN YOUR ARM,
Repetitions and arrangements
Quinn Gruber
Editorial assistant Quinn Gruber reviews three multitudinous poetry titles: Ringing the Changes by Stephanie Strickland; Repetition Nineteen by Monica de la Torre; and Illusory Borders by Heidi Reszies. Of Strickland's book, Quinn writes: Ringing the Changes sounds through the highly precise patterns of English bell ringing, producing a “work that transgresses the boundary between thought as act and thought as content.” A series of twenty-three “bells” of text resonate in “many different interlocking dimensions” of climate change, racial justice, art, and performance; in the unique changes, “each of these pocket universes of social and economic reality has its own structure and forms, its own space and geometry.” In the overwhelming crises of the present, Strickland reminds us what the body can do: “It can reach out. It can look up.”