Jerome Rothenberg gave a reading on Thursday, September 29, 2022, at the Kelly Writers House. The full video recording is available below, along with seven photos taken during and after the event. He read, in part, his short new book, In the Shadow of the Mad King (available from Granary Books).
Partial page from Sawako Nakayasu, "Selected Chronology & Notes" to the book "Some Girls Walk into the Country They Are From"
When Sawako Nakayasu’s book Some Girls Walk into the Country They Are From is acquired, some or perhaps most copies will include a pamphlet-style supplement entitled “Selected Chronology & Notes.” Apparently some copies do not include this extra. Yet the notes can be crucial to understanding individual poems in the book.
I came upon Matt Longabucco’s book of 2021 mostly by accident and could not stop reading its critical/personal prose poem sections. I had seen the film to which it is a thoughtful historical response but that was years ago. M/W: an essay on Jean Eustache’s La Maman et la Putain is a compelling — focused but also diffuse — response to the film, a great example of how in the field of contemporary poetics writers can contribute works of “close reading” (“close watching”?) that proceed from hybrid convergences of prose poetry, criticism, theory, contemporary politics, and personal reflection. Hilton Als, an admirer of the book (and that makes perfect sense), is right to describe this unusual work as containing “beautiful intensities.”
Steve Evans's overview of the June 2004 conference, published in 'Third Factory'
Aldon Nielsen made a recording of a talk I gave at the 1940s conference at Orono, University of Maine, in June 2004. I think the talk was well received. At least that's my memory and the sound of audience response, here and there, to be discerned in this recording seems to confirm it. I was trying out, more or less for the first time, my idea that in the late 1940s antimodernism converged with anticommunism as a means by which to remake the reputation of the 1930s for the postwar period.
Concurrent with writing Graphology Poems by hand and in type (typewriter and computer fonts), I have “concretized” poems by photographing them “in situ” — i.e. as printed or written out pages set in trees, against flowers, or as scratchings in dirt, as sticks arranged on a firebreak, or photographed by a third party while holding sheets of poems as “protest placards” — and as textual interjections, overlays, and “culture jamming” of preexisting images/texts. I have also, more prevalently, maybe, made “drawings” and “paintings”… in other words, writing as illustration.
I am pleased to present a selection of Graphology drawing poems by John Kinsella. You can view the selection HERE and HERE. Below is a commentary provided by John. — A.F.
