[Following his remarkable translations of the great Persian poet Hafez, Squires has embarked on an assemblage of translations from Old Irish, “the oldest vernacular poetry in Europe.” Its relation to what John Bloomberg-Rissman & I have been assembling as outside & subterranean poetry should also be noted. (J.R.)]
"State of the Art" was presented at the 1990 Poetry Project Symposium, as a keynote along with lectures by Amiri Baraka and others. The essay was collected in A Poetics, which was published by Harvard University Press in 1992.
Miles Champion grew up in England and moved to the U.S. in his early 30s. His books include Compositional Bonbons Placate, Sore Models, Three Bell Zero, and, just out from Pressed Wafer, How I Became a Painter: Trevor Winkfield in Conversation with Miles Champion. He lives in Brooklyn, NY.On this show, Miles reads his new book, How to Laugh, which is forthcoming from Adventures in Poetry.
Program One: Champiom reads How To Laugh: (24:16): MP3 Program Two: Conversation with Charles Bernstein:(28:52): MP3
[A NOTE FROM PIERRE JORIS POSTED ORIGINALLY ON HIS NOMADICS BLOG 6/11/2014.] “In Paris now, on the day of the opening of the Marché de la Poésie, a great yearly 4 day event. One major pleasure will be to meet up with old friend Eric Sarner.
Jennifer Ashton, From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century (Cambridge: Cambridge University Press, 2005). [Michael Golston's review was originally published in the William Carlos Williams Review, Volume 28, Number 1-2, Spring/Fall 2008. Reprinted by permission of the author.]
I once had the good fortune to take a course with U.C. Berkeley’s Julian Boyd on the history of the English language. Occasionally, as a student in the class struggled with the finer points of deontic modality or the differences between “shall” and “will,” Boyd would suddenly glare at whomever was speaking and announce with mock sternness, “You are exactly wrong.”
Geoffrey Squires: Five poems from 'Irish Poetry 600–1200' (a work in progress)
[Following his remarkable translations of the great Persian poet Hafez, Squires has embarked on an assemblage of translations from Old Irish, “the oldest vernacular poetry in Europe.” Its relation to what John Bloomberg-Rissman & I have been assembling as outside & subterranean poetry should also be noted. (J.R.)]
1
Over the sea comes Adzehead
State of the Art: Video of 1990 lecture
from ThinAir video and Mitch Corber
"State of the Art" was presented at the 1990 Poetry Project Symposium, as a keynote along with lectures by Amiri Baraka and others. The essay was collected in A Poetics, which was published by Harvard University Press in 1992.
YouTube direct link
This is the opening of the essay:
Miles Champion on Close Listening
Miles Champion grew up in England and moved to the U.S. in his early 30s. His books include Compositional Bonbons Placate, Sore Models, Three Bell Zero, and, just out from Pressed Wafer, How I Became a Painter: Trevor Winkfield in Conversation with Miles Champion. He lives in Brooklyn, NY. On this show, Miles reads his new book, How to Laugh, which is forthcoming from Adventures in Poetry.
Program One: Champiom reads How To Laugh: (24:16): MP3
Program Two: Conversation with Charles Bernstein:(28:52): MP3
Eric Sarner translated by Pierre Joris: An extract from 'Experience of Water' in Coeur Chronique
[A NOTE FROM PIERRE JORIS POSTED ORIGINALLY ON HIS NOMADICS BLOG 6/11/2014.] “In Paris now, on the day of the opening of the Marché de la Poésie, a great yearly 4 day event. One major pleasure will be to meet up with old friend Eric Sarner.
Michael Golston: Improbable history — Jennifer Ashton's misrepresentations
Jennifer Ashton, From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century (Cambridge: Cambridge University Press, 2005). [Michael Golston's review was originally published in the William Carlos Williams Review, Volume 28, Number 1-2, Spring/Fall 2008. Reprinted by permission of the author.]
I once had the good fortune to take a course with U.C. Berkeley’s Julian Boyd on the history of the English language. Occasionally, as a student in the class struggled with the finer points of deontic modality or the differences between “shall” and “will,” Boyd would suddenly glare at whomever was speaking and announce with mock sternness, “You are exactly wrong.”
That’s how I feel about Jennifer Ashton’s book.