Galleries


Louis Armand	Artwork by Louis Armand and Ken Bolton	Nov 16, 2012
Louis Armand	Artwork by Louis Armand and Paul Sloan	Nov 29, 2011
Martín Bakero	Martín Bakero “Abjects” and other poems	Apr 28, 2014
Erica Baum	Photographs from 'Dog Ear'	Mar 09, 2011
Ken Bolton	Artwork by Ken Bolton and Robert Pulie	Apr 12, 2012
Anamaría Briede	Anamaría Briede from “Líneas Contenidas”	Apr 28, 2014
Gaye Chan	Pacific rim and basin art Curated by Gaye Chan	Apr 04, 2011
Linh Dinh	State of the union: Photographs by Linh Dinh	Sep 28, 2011
Brandon Downing	Recent collages	Dec 05, 2011
Chris Edwards	Artwork by Chris Edwards and Angela Gardner	Jul 24, 2012
Kurt Folch	Kurt Folch A sampler	Apr 28, 2014
Gregorio Fontén	Gregorio Fontén from “circle of tones” and “street poem AZ”	Apr 28, 2014
Martín Gubbins	Martín Gubbins from 'Símbolos,' 'Hormigas,' 'nbsp,' and 'White Pages'	Apr 28, 2014
Tero Hannula	Tero Hannula	Feb 15, 2016
Satu Kaikkonen	Satu Kaikkonen	Feb 15, 2016
Jukka-Pekka Kervinen	Jukka-Pekka Kervinen	Feb 15, 2016
Mikko Kuorinki	Mikko Kuorinki	Feb 15, 2016
Tiina Lehikoinen	Tiina Lehikoinen	Feb 15, 2016
Sami Liuhto	Sami Liuhto	Feb 15, 2016
Norman MacAfee	Sixteen drawings for Helen Adam's 'San Francisco's Burning'	Sep 30, 2013
Steve Prygoda	Gallery: John Wieners in 'Tenzone'	Dec 24, 2012
Jennifer Scappettone	Pop-up pastorals from 'The Republic of Exit 43'	Dec 14, 2016
James Schuyler	'Mark Trail' collage poem	Jun 30, 2012
Pete Spence	Artwork by Pete Spence	Jan 24, 2012
Reijo Valta	Reijo Valta	Feb 15, 2016
Hannah Weiner	'The Book of Revelations': The diplomatic transcript (gallery view)	Apr 07, 2011

Jacket2 index

Jacket 1997–2010

We maintain the complete archive of Jacket magazine, founded and edited by John Tranter.

Recently in Jacket2

Toward a poetry and poetics of the Americas (11): from the Popol Vuh (Mayan)

Jerome Rothenberg

The Popol Vuh, literally “the book of the community” (or “commonhouse” or “council”), was preserved by Indians in Santo Tomás Chichicastenango, Guatemala, and in the eighteenth century given to Father Francisco Ximénez who transcribed it in roman letters and put it into Spanish; vanished again and rediscovered in the 1850s by Carl Scherzer and Abbé Charles Etienne Brasseur de Bourbourg.

Translation from the Mayan by Dennis Tedlock

this is the beginning of the ancient word,

here in this place called k’iche’

Here we shall inscribe,

we shall implant the Ancient Word,

Elsewhere is here

A review of 'The Camel's Pedestal' by Anne Tardos

John Olson

Photo of Anne Tardos (right) at the Kelly Writers House, March 15, 2016, taken by Writers House staff.

It’s exhilarating to say things. Giddy and strange to put things in the air nobody has heard. Exultant and juicy to make proposals at the interphase between language and reality. I feel these things keenly reading Anne Tardos. “It must be crisp not cryptic, if you want to write,” reads the first line of “Gentle Deer On 10th Avenue,” “There is this come-and-go of ideas, impressions, fears, uncertainties.”[1]

Sylvia Plath's 'The Bell Jar'

Anna Vitale

Sylvia Plath spent the summer of 1953 in New York working for Mademoiselle magazine. In the first sentence of The Bell Jar, Esther Greenwood, Plath’s narrator, tells us “I didn’t know what I was doing in New York.” Esther’s inability to know — to know what she was doing and whether her life was worth it — is contextualized by the executions of Julius and Ethel Rosenberg.