Two new pieces for the Hannah Weiner Archive, courtesy James Meyer. Weiner destroyed most of her work from this before the early 70s; the Weiner archive at UCSD has almost no letters by her.
[To be published in 2015 as part of an expanded & revised edition of Diane Rothenberg’s Mothers of the Nation by Nine Point Publishing in Bridgton, Maine]
THE SETTING
We first met Harry Watt in December, 1967. Stanley Diamond prepared a letter for us to carry along and telephoned ahead to introduce us. Diamond was interested in the experiments in translation that my husband, Jerome Rothenberg, was doing and thought that a meeting with some of the singers of the Allegany Seneca, a group among whom Diamond had worked, might be conducive to further explorations in translation.
On April 6, 2011, about three years before the City of Vancouver formally acknowledged that Vancouver is on unceded Coast Salish territory, the City declared its 125th birthday, celebrating with a series of free events and public art works. One public art project the City commissioned was Digital Natives, a text-based, site-specific installation considering Indigeneity in the early 21st century of globalised digital communication technologies and media saturation. Curated by poet Clint Burnham and artist Lorna Brown for Other Sights for Artists’ Projects, the installation took the form of a series of tweet-like texts broadcast on Astral Media’s large electric billboard, located on Sen’akw, Squamish Nation territory, just to the side of the Burrard Street Bridge. From April 4 –30, pedestrians, cyclists, and drivers encountered typical billboard content, advertisements, interspersed with unattributed texts by several Indigenous and non-Indigenous North American artists and writers, including several Vancouver poets.
'The Difficulties,' ed. Tom Beckett: Complete set at Eclipse
PDFs and page by page images for all six issues.
note Eclipse archive is indexed at the EPC Digital Library
Hannah Weiner: poem for LeWitt, 1970 telegram work, letter for Acconci
Two new pieces for the Hannah Weiner Archive, courtesy James Meyer. Weiner destroyed most of her work from this before the early 70s; the Weiner archive at UCSD has almost no letters by her.
See also Weiner's 1970 Radcliffe Alumni questionnaire (thanks to Kaplan Harris)
Hannah Weiner's poems for Marjorie Strider (1934–2014)
Marjorie Strider worked with Hannah Weiner and John Perreault on “Street Works” (1969). Weiner wrote two poems for Strider. (Reprinted from Hannah Weiener's Open House, ed. Patrick Durgin.)
Diane Rothenberg: From 'The Economic Memories of Harry Watt' (The setting & the text)
[To be published in 2015 as part of an expanded & revised edition of Diane Rothenberg’s Mothers of the Nation by Nine Point Publishing in Bridgton, Maine]
THE SETTING
We first met Harry Watt in December, 1967. Stanley Diamond prepared a letter for us to carry along and telephoned ahead to introduce us. Diamond was interested in the experiments in translation that my husband, Jerome Rothenberg, was doing and thought that a meeting with some of the singers of the Allegany Seneca, a group among whom Diamond had worked, might be conducive to further explorations in translation.
Decoding 'Digital Natives'
On April 6, 2011, about three years before the City of Vancouver formally acknowledged that Vancouver is on unceded Coast Salish territory, the City declared its 125th birthday, celebrating with a series of free events and public art works. One public art project the City commissioned was Digital Natives, a text-based, site-specific installation considering Indigeneity in the early 21st century of globalised digital communication technologies and media saturation. Curated by poet Clint Burnham and artist Lorna Brown for Other Sights for Artists’ Projects, the installation took the form of a series of tweet-like texts broadcast on Astral Media’s large electric billboard, located on Sen’akw, Squamish Nation territory, just to the side of the Burrard Street Bridge. From April 4 –30, pedestrians, cyclists, and drivers encountered typical billboard content, advertisements, interspersed with unattributed texts by several Indigenous and non-Indigenous North American artists and writers, including several Vancouver poets.