[The following is a blog post I wrote for the University of California Press to celebrate the expanded fiftieth anniversary edition of Technicians of the Sacred, with an emphasis on its renewed relevance against the upsurge today of still potent nationalisms and racisms, directed most often against the diversity of mind and spirit of which the earlier Technicians was so clearly a part. At least I hope so. (J.R.)]
[The following is a blog post I wrote for the University of California Press to celebrate the expanded fiftieth anniversary edition of Technicians of the Sacred, with an emphasis on its renewed relevance against the upsurge today of still potent nationalisms & racisms, directed most often against the diversity of mind & spirit of which the earlier Technicians was so clearly a part. (J.R.)]
introduction. About a year ago I began discussions with Murat Nemet-Nejat on the subject of contemporary Turkish poetry. From these discussions was born a series of notes, experimental essays, and brief commentaries. The following text is based on a reading of küçük İskender’s souljam (see photo, above), in Murat’s translation, included in Eda: An Anthology of Contemporary Turkish Poetry published by Talisman House in 2004.
[introduction. About a year ago I began discussions with Murat Nemet-Nejat on the subject of contemporary Turkish poetry. From these discussions was born a series of notes, experimental essays, and brief commentaries. The following text is based on a reading of küçük İskender’s souljam (see photo, above), in Murat’s translation, included in Eda: An Anthology of Contemporary Turkish Poetry published by Talisman House in 2004. k.
What do W. C. Fields, the Mona Lisa, an upside down Tarot card, and the capitalized phrase, “GOOD NIGHT, PAPA” have in common? Not much, except that they all grace the cover of an almost unknown masterwork by the San Francisco artist, Jess.
Even is come; and from the dark park, hark.
— O!
What do W. C. Fields, the Mona Lisa, an upside down Tarot card, and the capitalized phrase, “GOOD NIGHT, PAPA” have in common? Not much, except that they all grace the cover of an almost unknown masterwork by the San Francisco artist, Jess.
Coinciding with the publication of an expanded 50th anniversary edition of his anthology Technicians of the Sacred, poet, translator and anthologist Jerome Rothenberg will explore the early history of ethnopoetics.
[At the start of a month’s visit in Australia I thought it appropriate to repost the following, included also in Barbaric Vast & Wild: Outside & Subterranean Poetry from Origins to Present. (J.R.)]
[At the start of a month’s visit in Australia I thought it appropriate to repost the following, included also in Barbaric Vast & Wild: Outside & Subterranean Poetry from Origins to Present.
Poems and poetics