Thanks to Phillip Barron, we now make available recordings of Piotr Sommer who read from Continued at the National Humanities Center in 2005--poems in Polish and his own translations in English. Sommer has been responsible for giving Polish readers access to Allen Ginsberg and Frank O'Hara. Sommer's O'Hara translations into Polish (1987) led to a small poetry culture war between the young experimental group of poets influenced by O’Hara, known as “The Barbarians,” and their antagonists “The Neo-Classicists," who defended traditional Polish poetry.
Thursday, September 30, 2010
he caused a poetry culture war in Poland
Thanks to Phillip Barron, we now make available recordings of Piotr Sommer who read from Continued at the National Humanities Center in 2005--poems in Polish and his own translations in English. Sommer has been responsible for giving Polish readers access to Allen Ginsberg and Frank O'Hara. Sommer's O'Hara translations into Polish (1987) led to a small poetry culture war between the young experimental group of poets influenced by O’Hara, known as “The Barbarians,” and their antagonists “The Neo-Classicists," who defended traditional Polish poetry.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
