derek beaulieu’s Prose of the Trans-Canada is an epic inscribed scroll, a graphemic saga as Odyssean and graphic a roadtrip as traveling the eponymous Trans-Canada highway. The 16” x 52” work is named after Blaise Cendrars’ monumental Prose of the Trans-Siberian (1913), a milestone in the history of artists books and visual poetry.
beaulieu writes that naming it after Cendrars' work, “places it within a continuity of engagements with the artist's book (as Cendrars' volume is considered an early progenitor of that form). Cendrars’ Prose of the Trans-Siberian was also a reply to the architecture of modernism: if 150 copies of Cendrars’ volume were placed end-to-end, the result would be the same length as the height of that symbol of Parisian Modernity, the Eiffel Tower.
[In advance of the forthcoming reprint by Nine Point Publishing of my 1978 book, A Seneca Journal, the following are some of the poems omitted from the original publication & now ready to be seen anew. Other work from the Seneca years has appeared since then in Shaking the Pumpkin & elsewhere. (J.R.)]
To help celebrate the 150th birthday of Robert Browning, poet Aaron Kramer went into the studios of WNYC in New York on May 3, 1962, and performed three of Browning’s poems — and offered commentary on each.
Kramer got a copy of the program from WNYC and kept it; after his death, Laura Kramer, the poet’s daughter, found the tape and generously permitted PennSound to make it available, along with a great many other readings now featured on PennSound’s Kramer page.
derek beaulieu's 'Prose of the Trans-Canada'
A 1:1 scale road map of language
derek beaulieu’s Prose of the Trans-Canada is an epic inscribed scroll, a graphemic saga as Odyssean and graphic a roadtrip as traveling the eponymous Trans-Canada highway. The 16” x 52” work is named after Blaise Cendrars’ monumental Prose of the Trans-Siberian (1913), a milestone in the history of artists books and visual poetry.
beaulieu writes that naming it after Cendrars' work, “places it within a continuity of engagements with the artist's book (as Cendrars' volume is considered an early progenitor of that form). Cendrars’ Prose of the Trans-Siberian was also a reply to the architecture of modernism: if 150 copies of Cendrars’ volume were placed end-to-end, the result would be the same length as the height of that symbol of Parisian Modernity, the Eiffel Tower.
Jerome Rothenberg: Some addenda to 'A Seneca Journal'
[In advance of the forthcoming reprint by Nine Point Publishing of my 1978 book, A Seneca Journal, the following are some of the poems omitted from the original publication & now ready to be seen anew. Other work from the Seneca years has appeared since then in Shaking the Pumpkin & elsewhere. (J.R.)]
A Seneca Memory
At Harry Watt’s old place
above the Allegany River
Leo Cooper tells me:
Bones Will Crow: Burmese poets Zeyar Lynn & Khin Aung Aye on Close Listening
Close Listening, with Zeyar Lynn, Khin Aung Aye, and James Byrne:
Zeyar Lynn poems:
"My History Is Not Mine": MP3
"Slightly Lopsided but a More Accurate Portrait": MP3
"Big Sister Have You Been to Laiza": MP3
Zeyar Lynn in conversation with Charles Bernstein
(37:35): MP3
Khin Aung Aye and James Byrne in conversation with Charles Bernstein:
(53:05): MP3
Robert Browning as performed by Aaron Kramer
To help celebrate the 150th birthday of Robert Browning, poet Aaron Kramer went into the studios of WNYC in New York on May 3, 1962, and performed three of Browning’s poems — and offered commentary on each.
Kramer got a copy of the program from WNYC and kept it; after his death, Laura Kramer, the poet’s daughter, found the tape and generously permitted PennSound to make it available, along with a great many other readings now featured on PennSound’s Kramer page.
Heriberto Yépez: From 'The Empire of Neomemory'
Translated from Spanish by Jen Hofer, Christian Nager, and Brian Whitener
[Excerpted from the edition published by Chain Links in 2013]
There are Laws: Taking Down the Pantopia