Angriff der Schwierigen Gedichte tr. Tobias Amslinger , Norbert Lange, Léonce W. Lupette and Mathias Traxler (based on All the Whiskey in Heaven, Farrar, Straus and Giroux, 2010) Wiesbaden, Germany: Lux Books
The jury commented [rough translation]: In his formally avant-garde, difficult and lucid poetic lyrics, Bernstein proposes a kind of poetry where experiment with literary form and genres is sovereign as well as risky and where there is strong emphasis on sound. His poetry includes intertextual assemblies, Dada-like sound poems, aleatoric works, songs, works of social criticism and verses that make a polemical intervention on the literary. The jury selected two volumes, both of which avoided a conventional approach to translation as an exact reproduction of the original poem. The two books put forward a different approach, for example, understanding translation as a creating poems in their own right. Since 1993, the city of Münster has awarded the poetry prize for a book of poetry and its translation. Prizewinners 2013 were the Caribbean Nobel Laureate Derek Walcott and his German translator Werner von Koppenfels.
Clairvoyant Journal 1974 is the first edition of the Clairvoyant Journal that follows the page design and format of Weiner's manuscript. For the first time, Weiner's spatial organization is kept intact. (In this work of "concrete prose," line breaks are retained).
Clairvoyant Journal 1974 is based on the typescripts Early and Clairvoyant Journalsand includes the entries dated February 23 to June 10.
Patrick Durgin provides an overview of the edition here.
Drummond on the set for Daphne of the Dunes by Harry Partch, playing a harmonic canon, La Mama Experimental Theater, 1994. Hat by Alice Farley. Photo by Jeffrey Starin.
Sound file of live performance (52:29): MP3 Libretto: summer stock(December 2014)
In late 1979, James Sherry decided to end the run of ROOF magazine and begin ROOF books. Controlling Interests was the first title of the press, which continues on, active as ever. Our first problem was funding –– I remember writing letters to everyone I could think of -- relatives and old friends but not fellow poets -- and realizing the fundraising was not my forté. One way or another, we cobbled together the money for the typesetting, which was done be Skeezo (Barbara Barg, Joel Chassler) and for the offset printing. I remember one day James and I going into a print shop in Chelsea to look through the PMS color chart to decide on the color of the type-only cover: a very dark blue (which we changed to turquoise for the second edition). Back cover: totally blank. James has kept the book in print these past 34 years and you can still get the print edition from SPD for $12 (I think the first edition sold for $4 or $5).
