For an interview, "Illness, lyric, and total contingency: Brian Teare in conversation with Jaime Shearn Cohn," connect here: http://jacket2.org/interviews/illness-lyric-and-total-contingency
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Interview with Brian Teare, "Illness, lyric, and total contingency: Brian Teare in conversation with Jaime Shearn Cohn" [link]
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Essay and translations, “José Kozer and what unfolds,” ed. by Peter Boyle [link]
“José Kozer and what unfolds,” ed. by Peter Boyle, click here:
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The Epic of Gilgamesh (in its original language) [link]
To hear part of the great poem "The Epic of Gilgamesh" in its original language, go here:
http://www.openculture.com/2010/10/the_sounds_of_ancient_mesopotamia.html
http://www.openculture.com/2010/10/the_sounds_of_ancient_mesopotamia.html
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Karin Krog singing Gertrude Stein's "As a Wife Has a Cow"
To hear Norwegian jazz singer Karin Krog's version of Gertrude Stein's "As a Wife Has a Cow," go here:
https://www.scribd.com/doc/90874479/Wife-Has-a-Cow
https://www.scribd.com/doc/90874479/Wife-Has-a-Cow
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John Olson
John Olson [USA]
1947
Born in Minneapolis, Minnesota on August 23rd, 1947, John Olson’s first seminal discovery in the realm of poetry occurred in the summer of 1966 in San José, California when a friend showed him “The Drunken Boat” by Arthur Rimbaud, a poem well outside the conventions of most of the poetry he’d seen till then and whose hallucinogenic delirium and phantasmagoric brilliance had an immense and immediate appeal. He’d begun writing poetry while attending the University of North Dakota in the spring of 1966, but it was Rimbaud’s “The Drunken Boat”—shortly after relocating to the west coast—that truly put him to sea. Olson graduated from San José State in 1974 where a class with poet Michael Palmer further enlightened his journey into poetry and introduced him to the work of other poets such as Ted Berrigan and Gertrude Stein whose concentration on the “thingness” of language encouraged a more radical approach to writing, a practice based on a sense of construction, of language as a medium of assembly rather than strictly a mode of communication, a utility for transmitting messages. This perspective would be further bolstered by William Burroughs’s cut-up technique. It was also at San José State that Olson discovered the work of James Joyce, whose monumental Ulysses would inspire further experimentations in prose and a deepened interest in the prose poetry of Charles Baudelaire, Arthur Rimbaud, Francis Ponge, André Breton, Bob Dylan (Tarantula), the Comte de Lautréamont (Isidore Ducasse), Stéphane Mallarmé and Jack Kerouac. Kerouac’s novels would also provide a bridge to the work of Marcel Proust and Louis Ferdinand Céline.
Olson returned to Seattle in 1975, his point of origin after his parents moved there from Minneapolis in 1959. A part time job for the mailing service at the University of Washington provided an income while he developed his writing, although he did not begin submitting work in earnest until rather late in life, in his early 40s, upon which his work began appearing in journals such as Sulfur, New American Writing and Andrei Codrescu’s Exquisite Corpse.
His first book of poetry, Swarm of Edges, was published in 1996, followed by several other books, including Logo Lagoon, Eggs & Mirrors, Echo Regime, Free Stream Velocity, Backscatter: New and Selected Poems, and Larynx Galaxy.
Olson also write poetic fictions which include Souls of the Wind (Quale Press, 2008), The Nothing That Is (Ravenna Press, 2010), The Seeing Machine (Quale Press, 2012), and In Advance of the Broken Justy (Quale Press, 2016).
Olson has thrice received the Fund for Poetry Award. In 2004, Olson received The Stranger’s Genius Award for Literature and in 2102 was one of eight finalists for Washington state’s Artist Trust’s Arts Innovator Award. In 2008, Souls of Wind, Olson’s novel about the imaginary exploits of Arthur Rimbaud in the American West of the 1880s, was shortlisted for a Believer Book .
Olson married poet Roberta Olson in 1995. They currently reside in Seattle.
books of poetry:
Swarm of Edges (Seattle: bcc press, 1996); Logo Lagoon (San Diego: Paper Brain Press, 1999); Eggs & Mirrors (Seattle: Wood Works Press, 1999); Echo Regime (New York: Black Square Editions, 2000) (lineated poetry); Free Stream Velocity (New York: Black Square Editions, 2003); Oxbow Kazoo (Lawrence, Kansas: First Intensity Press, 2005); The Night I Dropped Shakespeare On The Cat (New York: Calamari Press, 2006); Backscatter: New and Selected Poems (Boston: Black Widow Press, 2008); Larynx Galaxy (Boston: Black Widow Press, 2012)
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Edda Armas
Edda Armas [Venezuela]
1955
Born on June 2, 1055 in Caracus, Venezuela, Edda Armas graduated from the Central University of Venezuela (Universidad Central de Venezuela) in creativity and cultural management. She appeared on the Venezuelan literary scene in 1975 with the poetry collection Roto todo silencio (Broken by Silence), winning a literary award from the Center for Latin American Studies (Romulo Gallegos), headed by Ludovico Silva, Guillermo Sucre, and Gonzalo Rojas. Her second book of poetry, Contra el aire appeared as the 4thvolume of the New Voices Collection of Editions talleristas Cerlag in 1977.
Since then she has won numerous awards for her poetry, including XIV International Poetry Prize Biennial "JA Ramos Sucre" chosen by Oscar Hahn (Chile), José Luis Rivas (Mexico) and Armando Rojas Guardia (Venezuela).
Today she works as a social psychologist.
BOOKS OF POETRY
Toto todo silencio(1975); Contra el aire (Editions talleristas Cerlag, 1977); Rojo Circular (Fondo Editorial Fundarte, 1992);Cuerdas de Serpiente (with photographs by Lihie Talmor) (Editorial Arte, 1994); La creatividad del mal o el círculo de las flores (Libro de Artista con grabados originales de la Artista Plástica venezolana-israelita Lihie Talmor, edición de autoras, 1995); Cuerdas de Serpiente (Editorial Arte, 1995); La otra orilla (Edictorial Cabos Sueltos, 1999);La mujer que nos mira(Editorial El Pez Soluble, 2000); Armadura de piedra (La mujer que nos mira, 2005); La mujer que nos mira: Antología personal (Colección Altazor, 2007)
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Charles North
Charles North [USA]
1941
1941
Charles North was born in Brooklyn in 1941 and grew up in and near New York City. A classical clarinetist in his youth, he played with his first orchestra at thirteen and spent summers in the music program in Interlochen, Michigan. For a time he was going to make music his career.He studied English and philosophy at Tufts (where he met his wife, Paula; they have two grown children, Jill and Michael) and English at Columbia, and then spent six weeks at Harvard Law School before dropping out. In his mid-twenties, while copy-editing for a publishing company, he began writing poems and found his way to Kenneth Koch’s poetry workshop at The New School, which he credits with changing his life. Soon after, he was hired to teach English at (then) Pace College, where he eventually became the University’s first Poet-in-Residence.
The newly formed Poetry Project in New York City was central to North’s development as a poet. He went to numerous readings, published in Project magazines, served on the Advisory Board, and befriended other poets of his generation, including two who would become close colleagues, Tony Towle and Paul Violi.
North’s first poetry collection, the innovative Lineups (1972), was featured in two New York Post sports columns and reprinted in several anthologies. Since Lineups, he has published nine books of poems; collaborations with the poet Tony Towle (Gemini; Putnam Valley, NY: Swollen Magpie, 1981) and the artists Trevor Winkfield (Tulips; New Haven: Phylum, 2002) and Paula North (Translation; Brooklyn: The Song Cave, 2014); and two books of essays: No Other Way: Selected Prose (Brooklyn: Hanging Loose, 1998); and Ode to Asparagus, Peonies and Manet (The Song Cave, 2010). In the mid-70s he wrote for Art in America and briefly taught in the Poets-in-the Schools program. With James Schuyler, he edited the poet/painter anthology Broadway in 1979, and subsequently Broadway 2, and with Violi he ran the Swollen Magpie Press from 1976-1982.
Two new books are due in spring 2017: States of the Art: Selected Essays, Interviews and Other Prose1975-2014(Brooklyn: Pressed Wafer) and Elevenses(with Trevor Winkfield) (New York: Granary).
BOOKS OF POETRY
Lineups(privately printed, 1972); Elizabethan and Nova Scotian Music (New York: Adventures in Poetry,1974); Six Buildings (Putnam Valley, NY: Swollen Magpie, 1977); Leap Year (New York: Kulchur, 1978); The Year of the Olive Oil (Brooklyn: Hanging Loose, 1989); New and Selected Poems (Los Angeles: Sun and Moon, 1999); The Nearness of the Way You Look Tonight (New York: Adventures in Poetry, 2000; rev. ed, 2001); Cadenza(Brooklyn: Hanging Loose, 2007); CompleteLineups(Brooklyn: Hanging Loose, 2009); What It Is Like: New and Selected Poems (New York/Brooklyn: Turtle Point/Hanging Loose Press, 2011)
BOOKS OF POETRY
Lineups(privately printed, 1972); Elizabethan and Nova Scotian Music (New York: Adventures in Poetry,1974); Six Buildings (Putnam Valley, NY: Swollen Magpie, 1977); Leap Year (New York: Kulchur, 1978); The Year of the Olive Oil (Brooklyn: Hanging Loose, 1989); New and Selected Poems (Los Angeles: Sun and Moon, 1999); The Nearness of the Way You Look Tonight (New York: Adventures in Poetry, 2000; rev. ed, 2001); Cadenza(Brooklyn: Hanging Loose, 2007); CompleteLineups(Brooklyn: Hanging Loose, 2009); What It Is Like: New and Selected Poems (New York/Brooklyn: Turtle Point/Hanging Loose Press, 2011)
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Tina Darragh
Tina Darragh [USA]
1950
Tina Darragh was born and raised in Pittsburg and grew up the suburban community of McDonald, Pennsylvania. She began writing in 1968 and studied poetry in Washington, D.C. at Trinity University from 1970-1972. Between 1975 and 1976, she worked with Some of Us Press and at the Mass Transit community bookstore and writing workshop. She now lives in Greenbelt, Maryland with her husband Peter Inman. They have a son, Jack. She started writing poetry in college after taking a course with the poet Michael Lally, and has been included in several L=A=N=G=U=A=G=E-based poetry anthologies including Ron Silliman’s In the American Tree (National Poetry Foundation 1986) and Douglas Messerli’s From the Other Side of the Century (Sun & Moon Press, 1994). Darragh makes her living as a librarian.
Darragh has written many works of poetry, as while as an early play, My First Play (1974). Among her several books of poetry are Living (with Tim Dlugos) (1974), my hands to myself (1975); Pi in the Skye (1980), on the corner to off the corner (Sun and Moon Press, 1981), exposed faces (1984), and another play, Opposable Dumbs (2002).
Part of the poetic group surrounding Washington, D.C.’s 1970s Folio Books meetings, she and her husband have continued to play an important role in Washington’s poetic scene.
BOOKS OF POETRY
Living (with Tim Dlugos) Washington, D.C.: Dry Imager Press, 1975; my hands to myself (Washington, D.C.: Dry Imager Press, 1975); Pi in the Skye (New York: Direct Press-Modern Litho, 1980); on the corner to off the corner (College Park, Maryland: Sun and Moon Press, 1981); exposed faces(Elmwood, Connecticut: Potes & Poets Press, 1984); a(gain)²st the odds Elmwood, Connecticut: Potes & Poets Press, 1989); Striking Resemblance: Work, 1980-1986 (Providence, Rhode Island: Burning Deck, 1989); adv. fans: the 1968 series (Buffalo, New York: Leave Books, 1992); 6tpf/6tyn(Elmwood, Connecticut: Potes & Poets Press, 1997); in Etruscan Reader #8: Tina Darragh, Douglas Oliver, Randolph Healy (Buckfastleigh, United Kingdom: Etruscan, 1998); dream rim instructions(New York: Drogue Press, 1999); in Belladonna Elders Series #8: Jane Sprague, Diane Ward, Tina Darragh (Brooklyn, New York: Belladonna Books, 2009); Deep eco pré (with Marcella Durand) (Austin, Texas: Little Red Leaves e-editions, 2009)
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P[eter] Inman
P[eter] Inman [USA]
1947
Born in Bronxville, New York in 1947, and began writing poetry in the early ![]()
1970s. He graduated from Georgetown University, and for years worked at the Library of Congress while married to fellow poet Tina Darragh, who together raised their son Jack. Inman has also been involved with Unions.
1970s. He graduated from Georgetown University, and for years worked at the Library of Congress while married to fellow poet Tina Darragh, who together raised their son Jack. Inman has also been involved with Unions. Focused on an anti-representational linguistic system, Inman’s poems centered more on sound that literal meaning, although often his works betrayed traces of narrative.
His first book, What happens next? was published in 1974, with P. Inman U.S.A. following in 1975, and Sun and Moon Press’ Platin in 1979.
Since there is he published numerous other books, including the long summary volume, Written 1976-2013 published in 2014.
His poems have also been included in several anthologies, including None of the Above (Crossing Press, 1976); In the AmericanTree (National Poetry Foundation, 1986); “Language” Poetries (NewDirections, 1987); La lingua radical (Gramma Poesia, 1992); From the Other Side of the Century (Sun and Moon Press, 1994); and Other Room Anthology (Other Room Press, 2010).
BOOKS OF POETRY
What Happens Next? (Washington, D.C.: Some of Us Press, 1974); P. Inman U.S.A. (Washington, D.C.); (Dry Imager, 1975); Platin (College Park, Maryland: Sun & Moon Press, 1979); Ocker (Tuumba, 1982); Uneven Development (Jimmy & Lucy, 1984); Think of One(Elmwood, Connecticut: Potes & Poets, 1986); Red Shift (New York: Roof Books, 1988); criss cross (New York: Roof Books, 1994); vel (Oakland: O Books, 1995); ply(Elmwood, Connecticut: Potes & Poets, 1997); at. least.; (Krupskaya Collective, 1999); amounts. to. (Elmwood, Connecticut: Potes & Poets, 2000); now/time (Bronze Skull, 2006); Ad finitum (Manchester, England: if p then q, 2008); per se (Providence, Rhode Island: Burning Deck, 2012); Written 1976-2013 (Manchester, England: if p then q, 2014)
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Kit Robinson
Kit Robinson [USA]
1949
Born in Evanston, Illinois, on May 17, 1949, Kit Robinson attended high school in Cincinnati and graduated from Yale, where he met fellow poets Steve Benson, Alan Bernheimer, and Michael Waltuch, and studied with visiting poets Peter Schjeldahl and Ted Berrigan, as well as philosophers Robert Fogelin and Karsten Harries. In San Francisco he published the one-shot poetry magazine Streets and Roads (1974). In the late 70s and early 80s he produced "In the American Tree: New Writing by Poets," a weekly radio program of live readings and interviews on KPFA radio in Berkeley with Lyn Hejinian; curated the Tassajara Bakery poetry reading series with Tom Mandel; and performed with San Francisco Poets Theater under the direction of his brother Nick Robinson. He taught for seven years with California Poets in the Schools and was director of the Tenderloin Writers Workshop in San Francisco. In the mid-90s he was literature director at NewLangtonArts.
In the 70s, Robinson worked as a cab driver, teacher’s aide, postal clerk, and legal reporter, as well as doing film delivery and repair for filmmaker D.A. Pennebaker and proofreading for publisher Maurice Girodias. Since the 80s, he has made his living as a marketing person for tech companies. A sometime musician, he plays the Cuban tres guitar in the charanga sextet Calle Ocho and lives with his wife Ahni in Berkeley, California.
Robinson has written extensively on the work of his contemporaries including Ted Greenwald, Lyn Hejinian, Anne Tardos, Bob Perelman, Carla Harryman, Rae Armantrout, Barrett Watten, Larry Eigner, Clark Coolidge, Michael Gizzi, John Yau, Anselm Hollo, Tom Raworth, and Bob Cobbing. He is a co-author of The Grand Piano: An Experiment in Collective Autobiography, San Francisco, 1975-1980 (Detroit: Mode A, 2006-2010).
Robinson’s play Collateral was produced at Poets Theater in 1982 and appears in The Kenning Anthology of Poets Theater(Chicago: Kenning Editions, 2010). His play Creative Floors was performed by members of the audience at Intersection in San Francisco in 1987. His translation from the Russian of Ilya Kutik’s Ode on Visiting the Belosaraisk Spit on the Sea of Azov was published by Alef Books in 1995. Performances with musicians have included the Glenn Spearman Trio (1996) and Drew Gardner’s Poetics Orchestra (2015).
Awards and honors include the National Endowment for the Arts creative writing fellowship (1979); the California Arts Council artist in community fellowship (1982); a U.S. State Department (USIA) sponsored tour of Stockholm, Helsinki and Leningrad (1990); and the Fund for Poetry prize (1995). Robinson’s poetry has been translated into Italian, French, Swedish, Finnish, and Russian.
In a statement on Elective Affinities, a cooperative anthology of contemporary U.S. poetry, Robinson wrote, “Poetry is the heart of language. It’s what’s left after everything else has been taken away. All the instrumental uses of language are completely necessary. We use language to invite people over, order food, build cities, etc. Take all of it away and you are left with poetry. Poetry is language on a holiday. Free to go where it will. But it is not jobless. The job of poetry is to continue, despite everything that is pitted against it.”
BOOKS OF POETRY
| Chinatown of Cheyenne (Iowa City: Whale Cloth, 1974); The Dolch Stanzas (San Francisco: This, 1976), Down and Back (Berkeley, California: The Figures, 1978); Tribute to Nervous (Berkeley: Tuumba, 1980); Riddle Road (Berkeley, California: Tuumba, 1982); Windows (Amherst, Massachusetts: Whale Cloth, 1985); A Day Off (Oakland: State One, 1985); Ice Cubes (New York: Roof, 1987); Individuals (with Lyn Hejinian, Tucson: Chax Press, 1988); Covers (Great Barrington, Massachusetss: The Figures, 1988); The Champagne of Concrete (Elmwood, Connecticut: Potes & Poets, 1991); Counter Meditation (Tenerife, Spain: Zasterle, 1991); Balance Sheet (New York: Roof, 1993); Democracy Boulevard (New York: Roof, 1999); Cloud Eight (with Alan Bernheimer, Lowestoft, United Kingdon: The Sound & Language, 1999); The Crave (Berkeley, California: Atelos, 2002); 9:45 (Sausalito, California: The Post-Apollo Press, 2003); The Messianic Trees: Selected Poems, 1976-2003 (New York: Adventures in Poetry, 2009); Train I Ride (Toronto: BookThug, 2009); Determination (Victoria, Texas: Cuneiform Press, 2010); Takeaway (with Ted Greenwald, Portlan: c_L Books, 2013); A Mammal of Style (with Ted Greenwald, New York: Roof Books, 2013); Catalan Passages (Berkeley, California: Streets and Roads, 2015); Marine Layer(Buffalo: BlazeVOX, 2015); Leaves of Class (Victoria, Texas: Chax, 2016) For online works and more info on Kit Robinson, click here: For recordings of readings by Kit Robinson, click here: |
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Johannes Kühn
Johannes Kühn (Germany)
1934
1934
Born in Bergweiler, in the Saarland area of Germany, on February 3, 1934, Johannes Kühn begin working as a workman in his brother’s building company. Because of an illness, Kühn didn’t speak for years, then began writing poetry in his late fifties, while acting, from 1955 to 1958, at the actors’ studio in Saarbrüken. He soon started writing dramas, fairy tales, and poetry, but had little success in this efforts. After several years of wandering throughout the country, he published his collected impressions into poems and stories, and begin to attain national attention, particularly in the 1980s when he published the collections of poetry, Salzgeschmack(1984) and Am Fenster der Verheißungen (1989), and Ich Winkelgast (1989), as well as the fairy tales, Zugvögel haben mir berichtet (1988). He has also written several volumes of stories and fiction.
However, Kühn ceased writing in the late 1980s, and did not return to writing poetry until 1992, a period when he has now won many awards, including the Horst-Bienek-Preis für Lyrik in 1995, the Christian-Wagner-Preis the following year, the Stefan-Andres-Preis in 1998, and again in 2004 for his volume Noon Bells in the Field.
Today he lives in Hasborn, Germany.
BOOKS OF POETRY
Stimmen der Stille (Saarbrücken: Verlag “Der Mitte,” 1970); Salzgeschmack (Saarbrücken: Verlag “Der Mitte,” 1984); Am Fenster der Verheißungen (München: Carl Hanser Verlag, 1989); Ich Winelgast (München: Carl Hanser Verlag, 1989); Meine Wanderkreise ((Saarbrücken: Verlag “Der Mitte,” 1990); Blas aus de Sterne (Warmbronn: Verlag U. Keicher, 1991); Gelehant an Luft (München: Carl Hanser Verlag, 1992); Wenn de Hexe Flöte spielt (Warmbronn: Verlage U. Keicher, 1994); Leuchtspur (München: Carl Hanser Verlag, 1995); Lerchenautsteig (Warmbronn: Verlag U. Keicher, 1996); Wasser genügt nicht (München: Carl Hanser Verlag, 1997); Habein Aug mit mir (Krüger Verlag, 1998); Mit den Raben am Tisch (München: Carl Hanser Verlag, 2000); Nie verließ ich den Hüelring (Blieskastel: Gollenstein-Verlag, 2002); Ich muß nicht reisen (Warmbronn: Verlag U. Keicher, 2004); Ganz ungetröstet bin ich nicht (München: Carl Hanser Verlag,2007)
Noon Bells in the Field
—translated from the German by Elizabeth Oehlkers Wright
On the cliff ledge of the quarry
the sound of the bell leaps
like a ball, light,
overshoots the forests
and reaches
the plough
the farmer,
so he knows:
It’s noon.
In the swamp
sounding towards the sunken bell,
it wakens, I believe the way children do,
echo.
Playing,
echo dives
into the ravine
where the pastured horses walk.
It falls
on full kettles
of berry-pickers,
who pause, surprised
it’s so late already.
Tin of tea,
bacon slabs on bread
the peaceful man eats and drinks,
the vagrant
in the narrow pass
he’s finished begging
and begins to chew
his fine lunch
by the fresh note of the church bell
he knows other prayers too.
How loud the ringing of the anvil is,
the locomotive roars
the waterfowl screech
the wagons rattle
the village siren wails,
and; trumping them all
the old church, in all gravity,
what many rejoice.
(Reprinted from Agni Review)
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Armando Romero
Armando Romero (Colombia)
1944
Born in Cali, Colombia on the 28th December in 1944, Armando Romero, was, during his youth, part of Vanguard Movement (El Nadaísmo), led byGonzalo Arango. Among the group was Jaime Jaramillo, Eduardo Escobar Jotamario, Humberto Navarro, Fanny Buitrago, Amílcar Osorio, and many others. After leaving Colombia in 1967, Romero lived in Mexico and Venezuela. Years later, he received his Ph.D. from the University of Pittsburgh in 1983, where he wrote his doctoral dissertation on Colombian poetry.
His literary and critical work has been translated into English, Italian, Greek, Rumanian, French, German, Arabic and Portuguese. Romero's critical text Las palabras están en situación: Un estudio de la poesía colombiana de 1940 a 1960 (1985) is considered by Colombian critics to be one of the most important books on Latin American poetry published in the twentieth century. Along with El Nadaísmo colombiano, o, La búsqueda de una vanguardia perdida (1988), it has been widely adopted in Colombian universities.
More recently Romero recently published two critical anthologies of Latin American poetry, Una gravedad alegre (2008) and Antología del Nadaísmo (2009).
Romero's novel La rueda de Chicago (2004) won the 2005 Latino Book Award for Best Adventure Novel at the New York Book Festival. In 2011 Romero won the Concejo de Siero International Award (Spain) for his fiction Cajambre.
Romero's numerous books of poetry include A vista del tiempo, selected poetry 1961-2004 (2005) and Versi liberi per Venezia (2010).
He has been invited to read internationally, and received an honorary doctoral degree from the National and Kapodstrain University Athens.
He has also written numerous books of short stories and other fictions, and has written seven books of poetry.
He currently lives in Cincinnati, where he is a Charles Phelps Taft Professor in Latin American literature at the University of Cincinnati.
BOOKS OF POETRY
El dominio y sum mano (Caracas: Monte Avila Editores, 1975); Los móviles del sveño (Mérida: Ediociones de la gobernación del estado, 1975); El poeta de vidrio (Caracas: Editorial Fundarte, 1979); Las combinaciones debidas (Buenos Aires : Ediciones Último Reino, 1989); A rìenda suelta (with an introduction by Gonzalo Rojas) (Buenos Aires: Ultimo Reino, 1991); Hagion oros – El monte santo Caracas: Editores Pegueña Venecia, 2002); De noche el sol (Medellín: Eafit Publishing House, 2004)
“In Defense of Poetry and Freedom”
http://www.festivaldepoesiademedellin.org/en/Intro/romero.html
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José Kozer
José Kozer (Cuba, lives USA)
1940
José Kozer is a Cuban poet, born in Havana in 1940. His Jewish parents had emigrated from Poland and Czechoslavkia. He left Cuba in 1960, moving to New York City until 1997, where he received his M.A. and Ph.D. from Queens College, CUNY in 1970 and 198s. He retired from Queens College as a Professor, having taught Spanish and Latin American literatures for 32 years. After moving to Torrox, Málaga in Span, he moved back to the USA, living in Hallandale, Florida.
The author of over 63 collections of poetry, he was the recipient of the Premio de Poesía Iberoamericana Pablo Neruda in 2013.
The prestigious publisherAldus (Mexico) published two books of prose by José Kozer entitled Mezcla para dos tiempos and Una huella detartalada, as well as Acta(2010) a book of poems written upon the death of the poet’s mother. A reissue of Bajo este cien, originally issued by Fondo de Cultura Económica de México (1983) was published in Barcelona by El Bardo. Ánima and Acta est fabula; Visor(Madrid) Fondo de Cultura published hisY del esparto la invariabilidad; Monte Ávila (Caracas) his Trasvasando, and his Partículas en expansión was published in Chile in 2013 as a result of his winning the Neruda Prize.
His poetry has been translated to English, Portuguese, German, French, Italian, Hebrew and Greek, has been widely anthologized and has appeared in numerous literary journals from all over the world.
The American publisher, Junction Press, New York, printed a bilingual (Spanish/English) anthology of Kozer’s work entitled Stet, edited and translated by Mark Weiss. In Havana, Cuba, Torre de Letras, an independent small press, has recently published his book Semovientes.
Kozar has also written several books of prose and philosophy.
BOOKS OF POETRY
Padres y otras Profesiones (New York: Editorial Villa Miseria, 1972); Por la libre (New York: Editorial Bayú-Menoráh, 1973); Este Judíio de Números y Letras (Tenerife, Canary Islands: Editorial Católica, Ediciones Nuestro Arte, 1975); Y asií tomaron posesión en las Ciudades (Barcelona: Ambito Literario, 1978) (México D.F.: Editorial de la UNAM, 1979); Jarrón de las Abreviaturas (México, D.F.: Editorial Premiá, 1980), (Miami, Florida: Ediciones Catalego, 2003); La Rueca de los Semblantes (León, Spain: Editorial Instituto Fray Bernardinal de Sahagún, 1980); Antología breve (Santo Domingo, Dominican Republic: Editorial Luna Cabez Caliente, 1981); Bajo este Cien (México, D.F.: Editorial Fondo de Cultural Económica, 1983); La Garza sin Sombras (Barcelona; Edicions Librres del Mall, 1985), (Buenos Aires: Bajo la luna, 2006); El Carillón de los Muertos (Buenos Aires: Ediciones Último Reino, 1987), Xalapa, Veracruz: Editorial Universidad Veracruzana, 2006); Carece de Causa (Buenos Aires: Ediciones Último Reino, 1988), (Buenos Aires: Tse-Tsé, 2004); De donde Oscilan los seres en sus Proprciones (Tenerife, Canary Islands: H.A. Editor, 1990), Santiago de Chile: Ediciones del Temple, 2007); Los Paréntesis (selected by Roberto Echavarren) (México, D.F.: El Tucán de Virginia, 1995); AAA1144 (México, D.F.: Editorial Verdehalago, 1997); Réplicas (selected by Victor Fowler) (Matanzas, Cuba: Ediciones Vigia, 1997); La Maquinaria Ilimitada (México, D.F.: Editorial Sin Nobre, 1998); Dípticos (Madrid: Bartleby Editores, 1998); Farándula (México, D.F.: Editorial Ditoria, 1999); Al Traste (México, D.F.: Trilce Ediciones, 1999); Rupestres (Curitiba, Brazil: Editorial Tigre de Espelho, 2001);
No Buscan reflejarse (Havana, Cuba: Editorial Letras Cubanas, 2001); Bajo este cien y otras poemas (Barcelona: El Bardo Editoria, 2002); Rosa Cúbica (Buenos Aires: Eidtorial Tse Tsé, 2002); Ánima (México, D.F.: Fondo de Cultura Económica, 2002); Madame Chu y outros poemas (Curitiba, Brazil: Editorial Faxinal de Céu, 2002); Un Caso llamado FK (México, D.F.: Ediciones sin Nombre, 2002), (Miami, Florida: Editorial Strumento, 2002); Ogi no mato (México, D.F.: Editorial Universidad Autónoma de la Cuidad de Méixco, 2005); Y del Esparto la invariabilidad (Madrid: España, 2005); Íbis Amarelo sobre fundo negro (Curitiba, Brazil: Travessa dos Editores: 2006); Trasvasando (Caracas, Venezuela: Monte Ávila Eidtores, 2006); De donde son los poemas (México, D.F., 2007); Práctica (México, D.F.: Ediciones sin nobre, 2007); Mueca la Muerte (Santiago de Chile: Editorial Norma, 2007); Ocambo (Santiago de Chile, Editorial Animita Caronera, 2007); 22 Poemas (México, D.F.: Editorial Ditoria, 2007); En Feldafring las Cornejas (México, D.F.: Editorial Aldus, 2007); Trazas (Spuren) [in Spanish and German) ((Zurich, Switzerland: Teamart Verlag, 2007); Semovientes (Havana, Cuba: Editorial Torre de Letras, 2007); Figuardo y literal (Aregquipa, Peru: Editorial Casahuesos, 2009); ACTA (México, D.F.: Editorial Aldus, 2010); Actividad del Azogue (São Paulo, Brazil, 2011); Tokonoma (Madrid: Spain: Editorial Literal, 2011); Índole (Matanzas, Cuba: Ediciones Matanzas, 2013); Autorretrato en Tránsito (Ciudad de Guatemla, Guatemala: Catafixia Editorial, 2013); Despliegues, en Kozer + Carrión (Ciudad de Guatemla, Guatemala: Despliegues, 2013); Naïf (Madrid: El Sastre de Apollinaire Editorial, 2013); BBBBB160 (Havana, Cuba: Editorial Letras Cubanas y Editorial Torre de Letras, 2013); Acta est Fabula (México, D.F.: Fondo de Cultura Económica, 2013); Partículas en expansión [anthology] (Santiago, Childe: Consejo Nacional de la Cultura y las Artes, 2014); Para que no imagines (Madrid: Editorial Amargord, 2014); Lindes [anthology] (Santiago, Chile: Lom Ediciones, 2014); Una huella destartalada (México, D.F.: Artigas Editores, 2014); Indicios (Madrid: Editorial Verbum, 2014); Suite Guadalupe (Brazil: Lumme Editor, 2015) [bilingual]; Un Asterisco Polonia (Guayaquil, Ecuador: El Quirófano Ediciones, 2015), (Buenos Aires: Audisea Editores, 2016); Parlamentos del nonagenario (Isla de San Borondón, Spain: Ediciones Liliputienses, 2016); Pareja Inmortal (Paraguay: Editorial Yiyi Jambo Cartonera, 2016)
ENGLISH LANGUAGE TRANSLATIONS
STET (Selected Poems) trans. by Mark Weiss(New York: Junction Press, 2006); Ánima (Exeter, England: Shearsman Books) [bilingual]; Tokonoma (trans. by Peter Boyle)(Bristol, England: Shearsman Books, 2014); Three Friends Carrusel (Taos, New Mexico: Editorial Rancho Press, 2016)
↧
↧
Marjorie Welish
Marjorie Welish [1944]
USA
Born on June 2, 1944, Marjorie Welish received her B.A. at Columbia University and attend Vermont College and Norwich University to receive an M.F.A. degree.
Living in New York, Welish teaches art, literary criticism, and art history at Pratt Institute, but she has also frequently taught poetry courses at Brown University. She was the Judith E. Wilson Visiting Poetry Fellow at Cambridge University in 2005. Her first book of poetry, Handwritten, was published by Sun Press in 1979, and since that time she has published numerous other collections, including Two Windows Flew Open (1991), Casting Sequences (1993), The Annotated “Here” and Selected Poems (2000, a finalist for the Lenore Marshall Prize from the Academy of American Poets), Of the Diagram (2003), and Word Group (2004).
Welish has also published and book of essays, Signifying Art: Essays on Art after 1960 (published by Cambridge University Press in 1999) and is herself an artist, represented by Baumgartner Gallery in New York City and Aaron Galleries in Chicago.
In 2001 the University of Pennsylvania held a conference devoted to Welish’s work, showing several examples of her books and art along with the delivery of papers about her writing.
In 2009, Granary Books published Oaths? Questions?, a collaborative artists’ book by Welish and James Siena, which was the subject of a special exhibition at Denison Museum in Granville, Ohio; the book is in several permanent collections, including that of the Metropolitan Museum of Art.
She has received grants and fellowships from the Adolph and Esther Gottlieb Foundation, the Djerassi Foundation, the Elizabeth Foundation for the Arts, Fifth Floor Foundation, the Howard Foundation, the International Studio Program, the MacDowell Colony Fellowship, Pollock-Krasner Foundation, and the Trust for Mutual Understanding.
BOOKS OF POETRY
Handwritten (New York: Sun Press, 1979); Two Poems (Calais, Vermont: Z Press, 1981); The Windows Flew Open(Providence, Rhode Island: Burning Deck, 1991); Casting Sequences (Athens: University of Georgia Press, 1993); The Annotated "Here" and Selected Poems (Minneapolis: Coffee House Press, 2000); Of the Diagram: The Work of Marjorie Welish (Philadelphia: Slought Foundation, 2003); Word Group (Minneapolis: Coffee House Press, 2004)
↧
Paul Violi
Paul Violi [1944-2011]
USA
Born and raised on Long Island, New York, Paul Violi received a BA in English from Boston University before serving in the Peace Corps in Nigeria from 1966-1967.
For many years Violi worked as a teacher and editor, serving managing editor of Architectural Forum, and working for a while as an assistant to Buckminster Fuller. He also worked with the artist Dale Devereux Barker. He taught at New York University, Columbia University, The New School, and elsewhere. Associated with the second generation of the New York School poets, Violi was the co-founder of Swollen Magpie Press.
The first of his several collections of poetry was Waterworks (1972), followed by In Baltic Circles (1973, reprinted in 2011); Harmatan (1977, based on notes of his Nigerian stay), Breakers: Selected Poems (2000), and Overnight (2007), among others. His poems also appeared in numerous anthologies over the years.
In 2002 he published a collection of prose, Selected Accidents, Pointless Anecdotes, published by Hanging Loose Press.
Violi was honored with the John Ciardi Lifetime Achievement Award in Poetry, the Ingram Merrill Foundation Poetry Award, the American Academy of Arts and Letters Morton Dauwen Zabel Award, and fellowships from the National Endowment for the Arts.
He died of cancer in 2011, at age 66.
BOOKS OF POETRY
Waterworks (Iowa City: Toothpaste Press, 1972); In Baltic Circles (New York: Kulchur Foundation Press, 1973; reprinted by New York: H_NGM_N Books, 2011); Some Poems (New York: Swollen Magpie Press, 1976); Harmatan (New York: Sun Press, 1977); American Express (Ipswich, United Kingdom: Joe Soap’s Canoe Publications, 1981); Splurge (New York: Sun Press, 1982); Likewise (New York: Hanging Loose Press, 1988), The Curious Building (New York: Hanging Loose Press, 1993); The Anamorphoses [with Dale Devereux Barker] (Melbourne: Pataphysics Series, 1995); Fracas (New York: Hanging Loose Press, 1998); Breakers: Selected Longer Poems (Minneapolis: Coffee House Press, 2000); Overnight (New York: Hanging Loose Press, 2007); The Tame Magpie (New York: Hanging Loose Press, 2014)
For a review of The Tame Magpie, “‘Reckless sympathy, scorn’: Paul Violi’s Last Poems” by Barry Schwabsky in Hyperallegic Weekend, go here:
↧
Douglas Messerli | "Hyperallergic Weekend" (on David Antin's death) [link]
For an essay on "David Antin: Cultural Icon" on Hyperallergic Weekend, about his death by Douglas Messerli, go here: http://hyperallergic.com/338168/david-antin-cultural-icon/
↧
Table of Contents
Having once again lost our Table of Contents I will, in the next few weeks, try to rebuild the site, this time in alphabetical order, to make it easier for my readers to access its references. Unfortunately, it will take a great deal of time to make all the links again. I don't comprehend why we have twice lost the Contents page, but we will persist.
The PIP Anthology of World Poetry of the Twentieth and Twenty-first Century
Helen Adam (b. Scotland/USA) [1909-1993]
Helen Adam's "The Cheerless Junkie's Song" [link]
*Adonīs [Alī Ahmad Sa’īd] (Syria/Lebanon) [1930]
Book If Only the Sea Could Sleep [PDF file]
Essay "Syrian-born Poet Adonis on President Assad of Syria" [link]
Endre Ady (b. Austria-Hungary Empire / Hungary) [1877-1919]
Ilse Aichinger (Austria) [1921]
Delmira Augustini (Uruguay) [1886-1914]
*Demosthenes Agrafiotis (Greece) [1946]
Book Writing Dimensions [PDF file]Delmira Agustini (Uruguay) [1886-1914]
Naja Marie Aidt (Denmark) [1963]
Helen Adam's "The Cheerless Junkie's Song" [link]
*Adonīs [Alī Ahmad Sa’īd] (Syria/Lebanon) [1930]
Book If Only the Sea Could Sleep [PDF file]
Essay "Syrian-born Poet Adonis on President Assad of Syria" [link]
Endre Ady (b. Austria-Hungary Empire / Hungary) [1877-1919]
Ilse Aichinger (Austria) [1921]
Delmira Augustini (Uruguay) [1886-1914]
*Demosthenes Agrafiotis (Greece) [1946]
Book Writing Dimensions [PDF file]Delmira Agustini (Uruguay) [1886-1914]
Naja Marie Aidt (Denmark) [1963]
Anna Akhmatova (Russia) [1889-1966]
Risto Ahti (Finland) [1943]
Risto Ahti (Finland) [1943]
Albanian Poetry
Essay “The Unshackling of Albanian Poetry” by John Taylor
Rafael Alberti (Spain) [1902-1999]
Essay “Poet to Painter” by Douglas Messerli
Anne-Marie Albiach (France) [1937-2012]
Obituary on Albiach by Charles Bernstein
“In Memory of Anne-Marie Albiach 1937-2012 by
Robin Tremblay-McGraw
Will Alexander (USA) [1948]
George Albon (USA) [1954]
Pierre Alferi (France) [1963]
Francisco Alvim (Brazil) [1938]
Yehuda Amichai [Ludwig Pfouffer] (b. Germany/Israel) [1924-2000]
Mário de Andrade (Brazil) [1893-1945]
Oswald de Andrade (Brazil) [1890-1954]
Essay “Cannibal Manifesto” by Oswald de Andrade
Bruce Andrews (USA) [1948]
Essay-review “Wordscape Poets” (on works by Bernstein, Andrews, and Perelman)
by Douglas Messerli
Ralph Angel (USA) [1951]
*David Antin (USA) [1932-2016]
Essay “David Antin” Cultural Icon” (on David Antin’s death) by Douglas Messerli [link]
Essay-review “Answering the Sphinx” (on Antin’s I Never Knew What Time It Was) by Douglas Messerli
Interview-essay "Conversational Critic, Talking Poet David Antin," by Robert Pincus
Essay “Fractures of Self” (on Antin’s Radical Coherency) by Douglas Messerli
Arnaldo Antunes (Brazil) [1960]
Guillaume Apollinaire (France) [1880-1918]
Braulio Arenas (Chile) [1913-1988]
Walter Conrad Arensberg (USA) [1878-1954]
*Rae Armantrout (USA) [1947]
Essay “The Present’s Chronic Revision,” by Douglas Messerli
Review TLS review of Rae Armantrout and Susan Howe [link]
Edda Armas (Venezuela) [1955]
Tammy Armstrong (Canada) [1974]
Céline Arnauld [Carolina Goldstein] (b. Romania/France) [1885-1952]
H[ans] C[arl] Artmann (Austria) [1921-2000]
John Ashbery (USA) [1927]
Review of Ashbery’s Wakefulness by Marjorie Perloff
Essay “The Pick-up,” by Douglas Messerli
Nelson Ascher (Brazil) [1958]
Essay “The Professor of Everything and the Professor of Nothing” (on Ascher in São
Paulo) (with note)
The Atom Poets (Iceland)
W.H. Auden (England/USA) [1907-1973]
The Auden Group (England)
Carlos Ávila (Brazil) [1955]
Kofi Awoonor (Ghana/formerly Gold Coast) [1935-2013]
One of Awoonor’s last poems
Gennadi Aygi (Russia/Chuvash) [1934-2006]
Essay-review “Word-faces” (on Aygi’s Child-and-Rose) by Douglas Messerli
*Ece Ayhan (Turkey) [1931-2002]
Book A Blind Cat Black / Orthdoxies (and PDF file)
Essay “Flying” (on Ayhan’s The Blind Cat Black and Orthodoxies) by Douglas
Messerli
Essay “The Unshackling of Albanian Poetry” by John Taylor
Rafael Alberti (Spain) [1902-1999]
Essay “Poet to Painter” by Douglas Messerli
Anne-Marie Albiach (France) [1937-2012]
Obituary on Albiach by Charles Bernstein
“In Memory of Anne-Marie Albiach 1937-2012 by
Robin Tremblay-McGraw
Will Alexander (USA) [1948]
George Albon (USA) [1954]
Pierre Alferi (France) [1963]
Francisco Alvim (Brazil) [1938]
Yehuda Amichai [Ludwig Pfouffer] (b. Germany/Israel) [1924-2000]
Mário de Andrade (Brazil) [1893-1945]
Oswald de Andrade (Brazil) [1890-1954]
Essay “Cannibal Manifesto” by Oswald de Andrade
Bruce Andrews (USA) [1948]
Essay-review “Wordscape Poets” (on works by Bernstein, Andrews, and Perelman)
by Douglas Messerli
Ralph Angel (USA) [1951]
*David Antin (USA) [1932-2016]
Essay “David Antin” Cultural Icon” (on David Antin’s death) by Douglas Messerli [link]
Essay-review “Answering the Sphinx” (on Antin’s I Never Knew What Time It Was) by Douglas Messerli
Interview-essay "Conversational Critic, Talking Poet David Antin," by Robert Pincus
Essay “Fractures of Self” (on Antin’s Radical Coherency) by Douglas Messerli
Arnaldo Antunes (Brazil) [1960]
Guillaume Apollinaire (France) [1880-1918]
Braulio Arenas (Chile) [1913-1988]
Walter Conrad Arensberg (USA) [1878-1954]
*Rae Armantrout (USA) [1947]
Essay “The Present’s Chronic Revision,” by Douglas Messerli
Review TLS review of Rae Armantrout and Susan Howe [link]
Edda Armas (Venezuela) [1955]
Tammy Armstrong (Canada) [1974]
Céline Arnauld [Carolina Goldstein] (b. Romania/France) [1885-1952]
H[ans] C[arl] Artmann (Austria) [1921-2000]
John Ashbery (USA) [1927]
Review of Ashbery’s Wakefulness by Marjorie Perloff
Essay “The Pick-up,” by Douglas Messerli
Nelson Ascher (Brazil) [1958]
Essay “The Professor of Everything and the Professor of Nothing” (on Ascher in São
Paulo) (with note)
The Atom Poets (Iceland)
W.H. Auden (England/USA) [1907-1973]
The Auden Group (England)
Carlos Ávila (Brazil) [1955]
Kofi Awoonor (Ghana/formerly Gold Coast) [1935-2013]
One of Awoonor’s last poems
Gennadi Aygi (Russia/Chuvash) [1934-2006]
Essay-review “Word-faces” (on Aygi’s Child-and-Rose) by Douglas Messerli
*Ece Ayhan (Turkey) [1931-2002]
Book A Blind Cat Black / Orthdoxies (and PDF file)
Essay “Flying” (on Ayhan’s The Blind Cat Black and Orthodoxies) by Douglas
Messerli
↧
↧
Review "Tired Instants" (of Cole Swensen's Landscape on a Train) by Jennifer K. Dick [link]
For a review of Cole Swensen's Landscape on a Train by Jennifer K. Dick, go here:
http://jacket2.org/reviews/timed-instants
↧
Table of Contents
Having once again lost our Table of Contents I will, in the next few weeks, try to rebuild the site, this time in alphabetical order, to make it easier for my readers to access its references. Unfortunately, it will take a great deal of time to make all the links again. I don't comprehend why we have twice lost the Contents page, but we will persist.
The PIP Anthology of World Poetry of the Twentieth and Twenty-first Century
ACIESIM (Russia)
Helen Adam (b. Scotland/USA) [1909-1993]
Helen Adam's "The Cheerless Junkie's Song" [link]
*Adonīs [Alī Ahmad Sa’īd] (Syria/Lebanon) [1930]
Book If Only the Sea Could Sleep [PDF file]
Essay "Syrian-born Poet Adonis on President Assad of Syria" [link]
Adonis reading his poetry [link]
Endre Ady (b.Austria-Hungary Empire / Hungary) [1877-1919]
Ilse Aichinger (Austria) [1921-2016]
Essay on Ilse Aichinger: "Werldy Country: Isle Aichiniger's Prose Poems," by Ulyana
Wolf, followed by two short pieces by Achiniger
*Demosthenes Agrafiotis (Greece) [1946]
Book Writing Dimensions [PDF file]Delmira Agustini (Uruguay) [1886-1914]
Naja Marie Aidt (Denmark) [1963]
Helen Adam (b. Scotland/USA) [1909-1993]
Helen Adam's "The Cheerless Junkie's Song" [link]
*Adonīs [Alī Ahmad Sa’īd] (Syria/Lebanon) [1930]
Book If Only the Sea Could Sleep [PDF file]
Essay "Syrian-born Poet Adonis on President Assad of Syria" [link]
Adonis reading his poetry [link]
Endre Ady (b.Austria-Hungary Empire / Hungary) [1877-1919]
Ilse Aichinger (Austria) [1921-2016]
Essay on Ilse Aichinger: "Werldy Country: Isle Aichiniger's Prose Poems," by Ulyana
Wolf, followed by two short pieces by Achiniger
*Demosthenes Agrafiotis (Greece) [1946]
Book Writing Dimensions [PDF file]Delmira Agustini (Uruguay) [1886-1914]
Naja Marie Aidt (Denmark) [1963]
Albanian Poetry
Essay “The Unshackling of Albanian Poetry” by John Taylor
Rafael Alberti (Spain) [1902-1999]
Essay “Poet to Painter” by Douglas Messerli
Anne-Marie Albiach (France) [1937-2012]
Obituary on Albiach by Charles Bernstein
“In Memory of Anne-Marie Albiach 1937-2012 by
Robin Tremblay-McGraw
Will Alexander (USA) [1948]
George Albon (USA) [1954]
Pierre Alferi (France) [1963]
Francisco Alvim (Brazil) [1938]
Yehuda Amichai [Ludwig Pfouffer] (b. Germany/Israel)[1924-2000]
Mário de Andrade (Brazil) [1893-1945]
Oswald de Andrade (Brazil) [1890-1954]
Essay “Cannibal Manifesto” by Oswald de Andrade
Bruce Andrews (USA) [1948]
Essay-review “Wordscape Poets” (on works by Bernstein, Andrews, and Perelman)
by Douglas Messerli
Ralph Angel (USA) [1951]
*David Antin (USA) [1932-2016]
Charles Bernstein and David Antin's book, A Conversation with David Antin [link]
Essay “David Antin” Cultural Icon” (on David Antin’s death) by Douglas Messerli [link]
Essay-review “Answering the Sphinx” (on Antin’s I Never Knew What Time It Was) by Douglas
Messerli
Interview-essay "Conversational Critic, Talking Poet David Antin," by Robert Pincus
Essay “Fractures of Self” (on Antin’s Radical Coherency) by Douglas Messerli
Trove of Getty talk pieces by Antin [link]
Arnaldo Antunes (Brazil) [1960]
Guillaume Apollinaire (France) [1880-1918]
Louis Aragon (France) [1987-1982]
Braulio Arenas (Chile) [1913-1988]
Walter Conrad Arensberg (USA) [1878-1954]
*Rae Armantrout (USA) [1947]
Essay “The Present’s Chronic Revision,” by Douglas Messerli
Review TLS review of Rae Armantrout and Susan Howe [link]
Edda Armas (Venezuela) [1955]
Tammy Armstrong (Canada) [1974]
Céline Arnauld [Carolina Goldstein] (b. Romania/France)[1885-1952]
H[ans] C[arl] Artmann (Austria) [1921-2000]
John Ashbery (USA) [1927]
Review of Ashbery’s Wakefulness by Marjorie Perloff
Essay “The Pick-up,” by Douglas Messerli
Nelson Ascher (Brazil) [1958]
Essay “The Professor of Everything and the Professor of Nothing” (on Ascher in São
Paulo) by Douglas Messerli (with note)
THE ATOM POETS (Iceland)
W.H. Auden (England/USA) [1907-1973]
THE AUDEN GROUP (England)
Delmira Augustini (Uruguay) [1886-1914]
Carlos Ávila (Brazil) [1955]
Kofi Awoonor (Ghana/formerly Gold Coast) [1935-2013]
One of Awoonor’slast poems [link]
Gennadi Aygi (Russia/Chuvash) [1934-2006]
Essay-review“Word-faces” (on Aygi’s Child-and-Rose) by Douglas Messerli
*Ece Ayhan (Turkey) [1931-2002]
Book A Blind Cat Black / Orthdoxies (and PDF file)
Essay “Flying” (on Ayhan’s The Blind Cat Black and Orthodoxies) by Douglas
Messerli
Essay “The Unshackling of Albanian Poetry” by John Taylor
Rafael Alberti (Spain) [1902-1999]
Essay “Poet to Painter” by Douglas Messerli
Anne-Marie Albiach (France) [1937-2012]
Obituary on Albiach by Charles Bernstein
“In Memory of Anne-Marie Albiach 1937-2012 by
Robin Tremblay-McGraw
Will Alexander (USA) [1948]
George Albon (USA) [1954]
Pierre Alferi (France) [1963]
Francisco Alvim (Brazil) [1938]
Yehuda Amichai [Ludwig Pfouffer] (b. Germany/Israel)[1924-2000]
Mário de Andrade (Brazil) [1893-1945]
Oswald de Andrade (Brazil) [1890-1954]
Essay “Cannibal Manifesto” by Oswald de Andrade
Bruce Andrews (USA) [1948]
Essay-review “Wordscape Poets” (on works by Bernstein, Andrews, and Perelman)
by Douglas Messerli
Ralph Angel (USA) [1951]
*David Antin (USA) [1932-2016]
Charles Bernstein and David Antin's book, A Conversation with David Antin [link]
Essay “David Antin” Cultural Icon” (on David Antin’s death) by Douglas Messerli [link]
Essay-review “Answering the Sphinx” (on Antin’s I Never Knew What Time It Was) by Douglas
Messerli
Interview-essay "Conversational Critic, Talking Poet David Antin," by Robert Pincus
Essay “Fractures of Self” (on Antin’s Radical Coherency) by Douglas Messerli
Trove of Getty talk pieces by Antin [link]
Arnaldo Antunes (Brazil) [1960]
Guillaume Apollinaire (France) [1880-1918]
Louis Aragon (France) [1987-1982]
Braulio Arenas (Chile) [1913-1988]
Walter Conrad Arensberg (USA) [1878-1954]
*Rae Armantrout (USA) [1947]
Essay “The Present’s Chronic Revision,” by Douglas Messerli
Review TLS review of Rae Armantrout and Susan Howe [link]
Edda Armas (Venezuela) [1955]
Tammy Armstrong (Canada) [1974]
Céline Arnauld [Carolina Goldstein] (b. Romania/France)[1885-1952]
H[ans] C[arl] Artmann (Austria) [1921-2000]
John Ashbery (USA) [1927]
Review of Ashbery’s Wakefulness by Marjorie Perloff
Essay “The Pick-up,” by Douglas Messerli
Nelson Ascher (Brazil) [1958]
Essay “The Professor of Everything and the Professor of Nothing” (on Ascher in São
Paulo) by Douglas Messerli (with note)
THE ATOM POETS (Iceland)
W.H. Auden (England/USA) [1907-1973]
THE AUDEN GROUP (England)
Delmira Augustini (Uruguay) [1886-1914]
Carlos Ávila (Brazil) [1955]
Kofi Awoonor (Ghana/formerly Gold Coast) [1935-2013]
One of Awoonor’slast poems [link]
Gennadi Aygi (Russia/Chuvash) [1934-2006]
Essay-review“Word-faces” (on Aygi’s Child-and-Rose) by Douglas Messerli
*Ece Ayhan (Turkey) [1931-2002]
Book A Blind Cat Black / Orthdoxies (and PDF file)
Essay “Flying” (on Ayhan’s The Blind Cat Black and Orthodoxies) by Douglas
Messerli
↧
Douglas Messerli / Lecture "Wrestling with Words" (on his collection of poetry books given to Chapman University)
wrestling with words
As I recently told members of both of Martin Nakell’s poetry classes, graduate and undergraduate, during the four weeks of my substitution for him: one of the most important ways to discover how to write poetry, other than experimenting with words themselves, is to read every book of poetry you can get your hands on—particularly by poets who challenge language and form, or who simply make you think. As I argued throughout these four weeks, for me the more complex a poem is, the better; a poet’s job is to wade into the waters of cold reality through language, and in order to do that, in order to better comprehend what “truth” is, poets play and dance with words.
Any one poetry course, moreover, is just the beginning of a true poet’s vocation. Reading outside of a room where you practice the art and share it with others, is a necessary task. And luckily, the students at Chapman have one of the best collections of poetry in the country—a fact I know not because I have mined the shelves of Leatherby Libraries, but because I gave a collection of thousands of books of poems (along with fiction by the likes of the wonderful fiction writer Rebecca Goldman and her poet-fiction-writing husband Martin Nakell—and incidentally Rebecca’s fiction was first pitched to me by the great Norwegian fiction writer and head of Norway’s PEN, Thorvald Steen, not by her devoted husband—including all the numerous critical books and poetic analyses of the previous speaker, Marjorie Perloff—who has also donated numerous volumes of poetry to Leatherby), and who, strange to say, was my mentor; and I say that knowing that the ageless woman you see there and the old man you see here, shouldn’t make that possible. There are far too many collections of poetry for me to simply give you all a list, so I will—if you bear with me—quickly try to take you on a whirlwind trip through some of the highlights of the collection, hinting through the names I drop how you might go on this literary journey through the library shelves. First of all I might contextualize my very large collection by making it clear that, unlike some of our current politicians, I believe in a global perspective. If I have learned nothing else over the decades of my involvement as both writer and publisher of poetry, it is that writers across the continents have generally been more inventive and innovative than their American counterparts, spawning hundreds of groups and movements that changed literature in general and helped to explain, in new ways, vast events that took place in 20th land 21st-century Europe, Asia, Africa, and Central and South America.
My own presses, Sun & Moon and Green Integer explored through anthologies and volumes of individual collections a wide range of poetry from nearly every country on the planet. Besides my own 1,136-page From the Other joked was bigger than the Bangkok telephone book)—a very good place to start out on your voyage since it covers most of the interesting US figures through those years. My Green Integer press published eight volumes of international poets, some of them general, and others, such as no. 3 devoted to the poets of contemporary Brazil; no. 5 to innovative poetry in Southern California, including your teacher and me; no. 6 to a group of Dutch and Flemish poets who shortly after World War II began to radically explore the relationships between language and art in overlapping groups such as The Fiftiers—Remco Campert, Hugo Claus, Jan G. Elburg, Gerrit Kouwenaar, my own favorite Lucebert, Sybren Polet, Paul Rodennko, Bert Schierbert, and Simon Vinkenoog—and the international art group COBRA; and no. 7, devoted to young German poets who, at one time or another, held residencies at Villa Aurora, at the former home of German émigré Lion Feuchtwanger and his wife Marta in Los Angeles, who played host to most of the German émigré artists during World War II: Bruno Frank, Bertolt Brecht, Heinrich and Thomas Mann, Arnold Schoenberg, and numerous others.
Directly related to the volumes of the Project for Innovative Poetry is my vast on-line PIP site, which contains extensive biographies of about 1,000 poets to date, with a complete listing of their books (in both the original languages and in translation) as well as small selections of the poems themselves. This site also includes definitions of various poetic groupings, magazines, publishers, and other related terms. Very shortly, we will be publishing our first on-line anthology of works by about 40 contemporary American poets, beginning with John Ashbery and ending with younger writers such as Joe Ross and Rod Smith. Also within the Messerli collection in this building are anthologies by other presses on French (several different volumes), German, Austrian, British, Norwegian, Swedish, Icelandic, Finnish, Danish, Dutch, Frisian, Belgian (in both Flemish and French), Spanish, Russian, Portuguese, Chinese, South Korean, Japanese, Indonesian, Australian, New Zealand, several African countries, Indian (from numerous languages), poets of the Arab language, Israeli, Palestinian, Iranian, Canadian, Mexican, and various Central and South American countries (from not only Portuguese and Spanish languages but many other indigenous languages). There’s even an anthology of Surrealist works from the Canary Islands!
And then there’s hundreds upon hundreds of individual collections, many of them original editions and a large number (such as the original copy of Allen Ginsberg’s Howl) signed by their authors In many of these instances I have every single book that most of the important poets published; in other cases I have their major works only, but with odd finds that probably do not exist outside of the Library of Congress or the New York Public Library. From US poets alone I have major collections by early experimentalists such as Gertrude Stein, Marsden Hartley, and Ezra Pound; from the so-called Objectivists (Charles Reznikoff, Lorine Niedecker, Carl Rakosi, Louis Zukofsky, George Oppen, and the British Basil Bunting); from the The Projectivists, Black Mountin, and San Francisco Renaissance poets (Charles Olson, Robert Duncan, the Canadian Robin Blaser, Robert Creeley, Jack Spicer, Larry Eigner, John Wieners, John Cage, Kenneth Irby, and Ronald Johnson), the New York School (Barbara Guest, James Schuyler, Frank O’Hara, John Ashbery, Joseph Ceravolo, Ted Berrigan, Charles North, Ron Padgett, Michael Brownstein, Lewis Warsh, etc) to the L=A=N=G=U=A=E-affiliated writers such as Hannah Weinner, Susan Howe, British poet David Bromige, Clark Coolidge, Lyn Hejinian, Robert Grenier, Ted Greenwald, Bruce Andrews, Ray DiPalma, Michael Palmer, Bernadette Mayer, James Sherry, Ron Silliman, Rae Armantrout, Bob Perlman, and Charles Bernstein (who will be reading at Chapman in early May, at which time I will introduce him), as well as numerous important American writers not connected with any one “group,” Jackson Mac Low, Kenward Elmslie, Jerome Rothenberg, David Antin, Mac Wellman, Leslie Scalapino, Fanny Howe, and Tina Darragh).
In single volumes my former collection is so extensive that it would nearly pointless to make up a list of names; Green Integer alone published some of the noted world poets in Adonis, Paul van Ostaijen, Paul Celan, Ko Un, Ingeborg Bachman, Oswald Egger, Dieter Gräf, and Nobel Prize winners Tomas Tranströmer and Nelly Sachs, to mention just a few. I suggest you read around the anthologies first and then seek out the poets you like best or who speak to you through their individual collections. And don’t be afraid, of course, to take up some of my own poetry collections, those of Martin Nakell, and the wonderful poetic commentaries of Perloff.
I will post this short talk on my PIP site as well so that you can begin to better assimilate all the names I’ve just thrown at you.
For me and for most of the poets I like best, although it was a special time to explore, the classroom or poetry workshop is only the beginning of poetic life. I never read anything in my many years within the university compared with the hundreds and hundreds of volumes of poetry, fiction, and criticism I have read after leaving its confines. And, if you happen to stay in this area, you have now the added possibilities of the collections at Chapman and the extensive poetry collections of UCLA.
For anyone in this room you have my permission to drop me an email for a suggestion of what to read at any moment. That’s part of my gift to the Chapman community. And soon you will also be able to research the Green Integer archives—the correspondences and several manuscripts and corrections by these poets that go into making a book. There you’ll discover that most of these wonderful writers were real people, sometimes asking questions of their publisher-editor, sometimes just giving nice support to my projects, and often expressing their utter frustration with me and my staff. That’s the fun of it: I got to live with and meet hundreds of people, who like myself, had chosen to devote their lives to wrestling with language, trying to get behind the easy compromises we daily make with language, to comprehend the truth of the world in which they exist. Every day poets fight for the meaning so many others are ignored or forgotten. And that’s a tough but wonderful job which I commend to everyone.
Los Angeles, March 6, 2017
Delivered at a lecture at The American War Letters Archive, Leatherby Library, Chapman University (with Marjorie Perloff).
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