Reissues


Alcheringa Archive: A Journal of Ethnopoetics, 1970–1980 (ed. Dennis Tedlock and Jerome Rothenberg)	Apr 07, 2011
Alcheringa audio inserts	Jun 07, 2011
Aufgabe, 2001–2014 (ed. E. Tracy Grinnell et al.)	Feb 26, 2017
Big Allis, 1989–2000 (ed. Melanie Neilson and Jessica Grim)	Jul 04, 2013
Calque, 2007–2009 (ed. Brandon Holmquest and Steve Dolph)	Sep 04, 2016
Chain, 1994–2005 (ed. Jena Osman and Juliana Spahr)	Sep 10, 2012
Combo: A Journal of Poetry and Poetics, 1998–2003 (ed. Michael Magee)	Nov 26, 2011
Dreamtime An Introduction to the Alcheringa Archive	Oct 19, 2010
Infolio, 1986–91 (ed. Tom Raworth)	Apr 28, 2014
Inventory of digitized magazines	Feb 27, 2017
M/E/A/N/I/N/G, 1986–1996 (ed. Susan Bee and Mira Schor)	Mar 03, 2013
New Wilderness Letter, 1977–84 (ed. Jerome Rothenberg)	Dec 10, 2013
Reality Studios, 1978–88 (ed. Ken Edwards)	Feb 02, 2012
Roof, 1976–79 (ed. James Sherry)	Jan 04, 2013
Secession, 1922–24 (dir. Gorham B. Munson)	Aug 31, 2011
Zuk, 1987–89 (ed. Claude Royet-Journoud)	Nov 18, 2012

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.