Jerome Rothenberg

Poems and poetics

Harris Lenowitz

A translation from “The Words of the Lord” by Jacob Frank

[The following is posted here in memory of Harris Lenowitz, who for many years was my comrade in poetry and translation. He coedited with me Exiled in the Word (a.k.a. A Big Jewish Book) and was himself the author of The Jewish Messiahs: From the Galilee to Crown Heights. But his masterwork was the compilation and translation of The Words of the Lord, a gathering of the words and visions of the eighteenth-century messiah and mystic Jacob Frank, left unpublished by Harris at the time of his death.

Anselm Hollo

'The Dada Letter,' from 'Collected Poems,' in progress

One afternoon in northern Europe, probably in the year 1939, a boychild one now sees wearing a blue velvet Little Lord Fauntleroy suit with lace collar and cuffs, is walking down a chiaroscuro corridor in a haut-bourgeois six-story apartment building —

     What Dadaists are still alive are dealing with their life-movies in various ways, suggested by other labels:


Jerome Rothenberg, with Javier Taboada

From 'The Book of Voices,' 'I Heard the Voices of the Dead'

Cover of the Lithuanian edition of Khurbn by Algimantas Černiauskas
Cover of the Lithuanian edition of Khurbn by Algimantas Černiauskas

[The following continues an interview and conversation with Javier Taboada in El Libro de las Voces, just published in Mexico by Mangos de Hacha. The publication of course is in Spanish and includes a selection of poems and essays along with the extensive series of interviews. Still in my possession and unpublished is the entire book in English, from which the following excerpt is taken. (j.r.)]


Toward a poetry and poetics of the Americas (32)

“Poetry” by the Flying Words Project, in ASL and English

Flying Words Project

Peter Cook: ASL Performer

Kenny Lerner: Voice Performer







Jerome Rothenberg

Toward an omnipoetics manifesto and the classics reconsidered

With regard to the teaching and promotion of the ancient Mediterranean “classics,” as reported recently in the New York Times and elsewhere, I’m reminded of the following — partly tongue-in-cheek and partly serious — which I published first in Shaking the Pumpkin (1972) and that Javier Taboada and I are including again in our new hemispheric and omnipoetic anthology of the Americas “from origins to present.” The premise behind it, however, is far