Rodney Koeneke's 2004 Segue reading

Al Filreis

Thanks to the efforts of PennSound staffer Luisa Healey, we are now making available segmented (poem-by-poem) recordings of Rodney Koeneke’s Segue Series reading, given at the Bowery Poetry Club in New York City on November 6, 2004.

Introduction (5:27): MP3
Opening Remarks (3:35): MP3
#16 “Excavate the Mexican game-show host …” from Rouge State (1:45): MP3
#17 “Eric the red on kickapoo juice …” from Rouge State (1:17): MP3
#2 “Caravansaries cavorting invite too-hot desires …” from Rouge State (2:37): MP3
“How to find safe passage …” from Rouge State (2:08): MP3
“Space then is time …” from Rouge State (1:32): MP3
Save it for the Clam from On the Clamways (1:54): MP3
Houston, We Have a Clam Problem from On the Clamways (0:31): MP3
Reef Fiction from On the Clamways (0:36): MP3
CLAMspeak from On the Clamways (0:33): MP3
That’s Just the Clam Talking from On the Clamways (0:32): MP3
The Great Clam from On the Clamways (0:33): MP3
Introduction to Musee Mechanique (2:55): MP3
Use Dips to Initiate from Musee Mechanique (0:52): MP3
Chary as Gary from Musee Mechanique (1:54): MP3
Compassion to Conservatism (0:20): MP3
The Church of the Cosmic Star Goat (1:40): MP3
Eerie Wampum (1:28): MP3
Europe. Memory. Squid Parts. Grace. (1:15): MP3
Larry’s House Breaks (1:35): MP3
Toward a Theory of Translation (2:56): MP3
#50 “Summer Acrostic Hotshot” from Rouge State (1:27): MP3

October 28, 2018

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DIGITAL PEDAGOGY: This was a magazine story published in 2001 about my use of e-media in teaching. “Postmodern poets focused on the process of their poetry, rather than on what the words in their poems actually said. The purpose was to make poetry and language new again. There's no better way to describe Filreis's teaching style. He uses technology to free class time for discussion, which to Filreis is more important than the course material itself. The point is to develop his students' ability to think critically, not to have memorized every last fact about Gertrude Stein. And yet, he said, through that active engagement with the material, students end up remembering more of the content.”

Click on the image.

ASHBERY PERFORMS STEVENS: In October of 1989, John Ashbery went to St. John's the Divine Cathedral in New York to be part of the induction of Wallace Stevens at the Poets' Corner. There was a vespers service and Ashbery read six sections of Stevens's "An Ordinary Evening in New Haven." Imagine that--that poem read at a vespers service! Anyway, I certainly don't know of another recording of Ashbery performing Stevens. Stevens was a fairly bad reader of his own poems. Ashbery is deemed by many to be an indifferent reader of his poems. (I don't agree, but understand the point.) But here, reading Stevens, Ashbery is marvelous. Here is a 7-minute recording of sections 3, 5, 12, 17, 18 and 30 of the Stevens poem that comes closest to real serial writing (seriality at the level of the section, anyway).

THE (ANTI)MODERN PRESIDENT. After looking at an abstract mural at the U.N. then President-elect Eisenhower said, “To be modern you don't have to be nuts.”

THE END OF THE LECTURE & PLANNING TO STAY. As often as I can, I call for the end of the lecture as we know it. I'm pretty serious about this - not often exaggerating on the point. Click here for one of many forays into the topic. Once you're there, click on the "end of the lecture" tag for still more. My thoughts on institutional politics and the arts were presented in a manifesto called "Planning to Stay" (published as a pamphlet by No Press); the text of that talk is available here.

KELLY WRITERS HOUSEPhiladelphia's PBS affiliate, WHYY-12, produces a TV show that in each episode features four centers for the arts and creativity in the Philadelphia region. For its winter 2010-11 program, the show devoted 15 minutes to the Kelly Writers House in a segment called “The Creative Campus.” To watch the video, click on the image above.

REPRESENTATIONS OF THE HOLOCAUSTI dislike Spielberg’s Schindler’s List intensely. It's a film, I think, that is very friendly toward sovereignty. For more on this minority view, click on the image above. I teach a course at Penn on representations of the Holocaust in literature and film every other fall semester.

In 2003 I founded and continue to direct the Center for Programs in Contemporary Writing at the University of Pennsylvania. CPCW brought together the university's writing programs and projects: Critical Writing, Creative Writing, the Kelly Writers House, PennSound, RealArts@PENN, Writers Without Borders, Creative Ventures, Jacket2, and more. For information and links to each of these projects, click on the logo above.