Danny Snelson

Reissues Editor

Danny Snelson is a writer, editor, and archivist. His online editorial work can be found on UbuWeb, PennSound, and Eclipse. He works with James Hoff as No Input Books, with Alejandro Crawford as Ex Libris, and lives in collaboration with Mashinka Firunts. Screenings, readings, lectures, and performances at Semiospectacle, Centre Pompidou, Dispatch Bureau, Ontological Hysteric Theater, Subtext Series, Gallery D21 Leipzig, Capricious Space, CRG Gallery, Lisa Cooley Gallery, and with free103point9 Transmission Arts. Recent projects include Inventory Arousal (Bedford Press, 2011), Alcheringa Archive, Simultaneously Agitated Space (Mimeo Mimeo #3), Endless Nameless, my Dear coUntess, Equi Nox, The Book of Ravelling Women, No-Body Zone, Noise!2010, and Edit: Performing Network Publishing (with Tan Lin).

Email:

danny.snelson@gmail.com

http://dss-edit.com

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By this author

Writing as metadata container

Poetry in 1960, a symposium: Question and answer session

On John Cage, 'Cartridge Music'

Recently in Jacket2

Topsy-Turvy

Charles Bernstein

Please buy the book directly from the publisher, University of Chicago Press, or a local bookstore, including Bridge Street Books, SemCoop, Talking Leaves, Indiebound, McNally-Jackson, and Bookshop.Org.

176 pages, paper and ebook. Audiobook is from Chicago and Amazon/Aubible.

Charles Bernstein: The Poetry of Idiomatic Insistences

A special issue of boundary 2

Charles Bernstein

Charles Bernstein: The Poetry of Idiomatic Insistences, edited by Paul Bové, focusses,mostly, on international contexts, including forewards to translated editions (translated for the first time), intreviews, and a review of Topsy-Turvy.

Pierre Joris

Extracts from: 'Various Variable Words Variably Arranged in the Form of a Celebratory Talk-Essay on Language & Luxembourg on the Occasion of Receiving the 2020 Batty Weber Award'

Jerome Rothenberg

I left Paris in 1967 not only because I had quit medical school to become a writer (Paris too does have some writers, right?) but because I had decided to write in English — or more accurately in American English. If French or German (and now, Luxembourgish) are the likely languages a citizen of the Grand Duchy normally decides between on the way to becoming a writer, I, except for very few teenage tries in those languages, always preferred that other one, my fourth language.