Photograph of Jackson Mac Low by Anne Tardos, 2003.
[In the final stages of composing a new assemblage of North and South American Poetry (“from origins to present”), I became aware again of the current and continuing relevance of Mac Low’s poem and the accompanying commentary prepared earlier by myself and Javier Taboada. (j.r.)]
[What follows is an attempt, once again, to cast light on the work of Unica Zürn, a fabled artist and poet, whose anagrammatic poems and automatic drawings existed on the fringe or near the center (depending on how you cut it) of post–1920s Surrealism and in close photo collaborations with German artist Hans Bellmer. The commentaries by Bellmer and poet and translator Pierre Joris, below, make a strong presentation of her principal work as a poet. (j.r.)]
The following is an essay I wrote in the course of judging the 2007 Harold Morton Landon Translation Award for the Academy of American Poets. It was originally published by the Academy in American Poet, volume 35, Fall 2008, but never appeared in Jacket2. At this later stage in his life (and mine), I’m posting it here, along with a poem of Eshleman’s that shows the intensity of his relation to Cesar Vallejo in the course of his Vallejo translations as a life’s work. (j.r.)
[The following is an essay I wrote in the course of judging the 2007 Harold Morton Landon Translation Award for the Academy of American Poets. It was originally published by the Academy in American Poet, volume 35, Fall 2008, but never appeared in Jacket2. At this later stage in his life (and mine), I’m posting it here, along with a poem of Eshleman’s that shows the intensity of his relation to Cesar Vallejo in the course of his Vallejo translations as a life’s work. (j.r.)]
Amy Catanzano at CERN under the Big European Bubble Chamber in the garden of decommissioned experiments, 2019. For this second visit, she was sponsored as a research artist and funded by the Outreach office of the ATLAS Experiment at the Large Hadron Collider. Catanzano has been awarded funding by Wake Forest University and CERN for a third visit to pursue collaborative projects.
2020 EDITOR’S NOTE. Above is how I handled the presentation of Catanzano’s work a decade ago, not realizing the strides she would make in the intervening years — most notably through a series of interventions and residencies at major observatories and scientific research centers: among them, CERN (the European Organization for Nuclear Research) in Switzerland, the Cerro Tololo Inter-American Observatory in Chile, and the Simons Center for Geometry and Physics at Stony Brook University. From this came a further outflow of work and the composition of poems and poetics that went beyond metaphor to the investigative urgency of Olson’s dictum from Herodotus: “to find out for oneself … instead of depending on hearsay.”
Accordingly, then, along with her own projects, she is collaborating on literary-scientific projects with scientists at CERN and elsewhere and has prepared a revised and expanded edition of all of her essays, and “essay-poems,” on quantum poetics. These include those first published here between 2009 and 2012, accessible now in an updated edition presented by Poems and Poetics. Her author’s note and opening essay of this edition appear below. — Jerome Rothenberg
2009 EDITOR’S NOTE. As is true in many cases, Catanzano’s poetics exists side-by-side with her poems in which the intersection between poetry and science plays itself out in a contemporary, even futuristic, form. The key work at present is her Multiversal (Fordham University Press, 2009), of which Michael Palmer writes by way of introduction:
Poems and poetics