digital monastery

Justin McDaniel, a member of the faculty here at Penn, has created a virtual archive of Thai Buddhist materials. It's called The Thai Digital Monastery and the web site is lovely--and shows the potential of this project as a virtual archive of far-off materials. We at PennSound will consult with Justin; they are, in a sense, sister projects, with a similar sort of archival motive.

scholarly uses of sound recordings of poetry

Below is a partial list of articles that make explicit use of PennSound material (prepared by Charles Bernstein):

Christine Hume, Improvisational Insurrection: The Sound Poetry of Tracie Morris, Contemporary Literature, Volume 47, Number 3, Fall 2006, pp. 415-439 (Article)

Hank Lazer, “Is There a Distinctive Jewish Poetics? Several? Many?: Is There Any Question?” Shofar: An Interdisciplinary Journal of Jewish Studies, Volume 27, Number 3, Spring 2009, pp. 72-90 (Article)

Andy Weaver, Promoting “a community of thoughtful men and women”: Anarchism in Robert Duncan’s Ground Work Volumes
ESC: English Studies in Canada, Volume 34, Issue 4, December 2008, pp. 71-95 (Article)

Charles Bernstein, Objectivist Blues: Scoring Speech in Second-Wave Modernist Poetry and Lyrics: American Literary History, Volume 20, Number 1-2, Spring/Summer 2008, pp. 346-368 (Article)

Natalie Gerber, Structural Surprise in the Triadic-Line Poems
William Carlos Williams Review, Volume 27, Number 2, Fall 2007, pp. 179-186 (Article)

Emily Mitchell Wallace, The MLA Seminar Papers on Williams and Sound
William Carlos Williams Review, Volume 27, Number 2, Fall 2007, pp. 157-159 (Article)

Don Riggs, Lots of City Poets: A Review of Essays on the "Second Generation" New York School: Journal of Modern Literature, Volume 31, Number 3, Spring 2008, pp. 143-149 (Review)

Xiaojing Zhou, "What Story What Story What Sound": The Nomadic Poetics of Myung Mi Kim's Dura” College Literature, 34.4, Fall 2007, pp. 63-91 (Article)

Charles Bernstein, Making Audio Visible: The Lessons of Visual Language for the Textualization of Sound Making Audio Visible: The Lessons of Visual Language for the Textualization of Sound

Jennifer Scappettone, Traffics of Historicism in Jackson Mac Low's Contemporary Lyricism, Modern Philology, Vol. 105, No. 1, Special Issue on Poetics (Aug., 2007), pp. 185-212

Claudia Rankine, ed.; Lisa Sewell, ed., American Poets in the 21st Century: The New Poetics.

on the institutionalization of e-poetry & related topics

1. Al Filreis, "Sounds at an Impasse," Wallace Stevens Journal, special sound issue edited by Natalie Gerber, Spring 2009, pp. 16-23. [link[

2. Al Filreis, "Kinetic Is as Kinetic Does: On the Institutionalization of Digital Poetry," in New Media Poetics: Contexts, Technotexts, and Theories, ed. Adelaide Morris and Thomas Swiss (Cambridge: MIT Press, 2006), pp. 123-140.

3. Al Filreis, "Some Remarks on the Institutionalization of E-Poetries," NC1 (Spring/Summer 2002), pp. 84-88; part of "New Media Literature: A Roundtable Discussion on Aesthetics, Audiences, and Histories."

4. Al Filreis, "Modernist Pedagogy at the End of the Lecture," in Teaching Modernist Poetry, eds. Nicky Marsh & Peter Middleton (Palgrave Macmillan, 2010). [link]

post-isolationist New Zealander

Below is a small transcribed piece of a "Close Listening" conversation with Wystan Curnow, conducted by Charles Bernstein. The full recording is of course available on PennSound. The full transcript will eventually be published in Jacket2; it has been prepared by the remarkable Michael Nardone.

- -

BERNSTEIN:
Now you have been interested in network connections trans-national or global, to some degree that was so commonplace as a way of understanding the visual arts. So, going back to my original question of location, thinking of New Zealand as one point in this global set of crossing points and so on, where do you locate your self on the globe in that respect? What are some of the currents, visual and verbal, that go through you, where you are?

CURNOW:
Well, first of all, I mean, let’s go back one step, and I sense that, I think that one reaction to going back to England or attachment to home was the idea of establishing something unique and of a particular place. So there was a type of isolationist, or a discovery of a New Zealand identity, a New Zealand literature.

BERNSTEIN:
Which would also be marked by features of the place itself.

CURNOW:
That’s right.

BERNSTEIN:
The boundedness by water, the particular fauna and flora.

CURNOW:
And the way in which as society developed, it grew out of those things in particular, rather than things that were elsewhere. That’s in some way a resistance to the global, a resistance to networks. Essentially, I’m of a generation that is more impressed with the limitations and the delusions of such a strategy, and wishes to expand the networks and make more of them. I think as you yourself indicated that somewhere in the 1970s, a considerable change occurred in terms of the influence particularly of American culture in New Zealand, but just at the popular culture level, but in the arts and in poetry.

But one of the things I wanted to say about the network thing is that whatever other sources you are talking about, one looks at sources in a different way than has occurred in the past. It’s a matter of relationships, and the negotiation of spaces between rather than a here and a there.

So networkers, in my view, understood that way.

BERNSTEIN:
I’m of course thinking of the particular show that you did of maps and the kind of global networking show. I wanted to ask you that question as you know, but—

CURNOW:
I mean for me, the border network began with the States. Then it’s extended to Europe, I would say, in the 1980s. Europe was a discovery for me. I’d never been there before.

W.E.B. DuBois on why he won't vote in 1956

In 1956, I shall not go to the polls. I have not registered. I believe that democracy has so far disappeared in the United States that no "two evils" exist. There is but one evil party with two names, and it will be elected despite all I can do or say....

[H]ow does Stevenson differ from Eisenhower? He uses better English than Dulles, thank God! He has a sly humor, where Eisenhower has none. Beyond this, Stevenson stands on the race question in the South not far from where his godfather Adlai stood sixty-three years ago, which reconciles him to the South. He has no clear policy on war or preparation for war; on water and flood control; on reduction of taxation; on the welfare state....

I have no advice for others in this election. Are you voting Democratic? Well and good; all I ask is why? Are you voting for Eisenhower and his smooth team of bright ghost writers? Again, why? Will your helpless vote either way support or restore democracy to America?

--W.E.B. Du Bois, October 20, 1956 in the Nation magazine

Allen Ginsberg's FBI file

Here is Herbert Mitgang's summary of Allen Ginsberg's FBI file:

Ginsberg engaged the attention of the FBI recordkeepers. "I have a stack of documents three feet high," the . . . poet said, and showed me a sampling of them. He has devoted much of his time to challenging the government on issues of privacy and personal freedom - including sexual preference - and arousing his fellow writers to campaign for freedom of expression.

Ginsberg recently told me that Pacifica Radio, the group of radio stations that airs public events, contemporary verse, drama and other literature, may no longer broadcast much of his poetry, including the well known Howl and Kaddish. Under the Reagan administration's policy of destroying the power to regulate of the regulatory agencies, the weakened Federal Communications Commission has carried out Attorney General Meese's diktat against "obscenity" and "indecency." The final report of the Meese Commission on Pornography is a legacy for book censors and book burners that could affect authors, editors and elements of the publishing community for a long time to come.

Ginsberg said that some of the papers in his file come from related customs and Treasury Department investigative bureaus. His file crisscrosses those of other writers. "They include Leroi Jones, who was the victim of much more attack than people understand and, in that context, his anger is understandable," Ginsberg said. "Most people don't realize what he and other black literati have been through, assuming that all past injustices have been redressed or somehow disappeared out of mind. The waste remains, the waste remains and kills. The section on Tom Hayden in Newark intersects with Jones, since Jones was influenced by an FBI misinformation campaign to denounce Hayden as an [FBI] agent and drive him out of Newark. The section on Black United Front and Ann Arbor intersects with John Sinclair, poet director of Detroit Artists Workshop, a multiracial press that is one of my publishers."

Commenting on the FBI's activities in the literary political arena, Ginsberg said, "Why did the FBI lay off the Mafia and instead bust the alternative media, scapegoating Leroi Jones, ganging up on Jane Fonda, Tom Hayden, Martin Luther King, Jr., antiwar hero David Dellinger, even putting me on a 'Dangerous Subversive' Internal Security list in 1965 - the same year I was kicked out of Havana and Prague for talking and chanting back to the Communist police? 'The fox condemns the trap, not himself,' as Blake wrote in Proverbs in Hell. "

In a memorandum from Hoover to the Secret Service in 1965, Ginsberg was cited as an "Internal Security--Cuba" case, and a potential threat to the president of the United States. On the document, stamped Secret, Ginsberg was listed as "potentially dangerous" and a "subversive," with "evidence of emotional instability (including unstable residence and employment record) or irrational or suicidal behavior," as having made "expressions of strong or violent anti U.S. sentiment," and as having "a propensity for violence and antipathy toward good order and government." All such items were checked on a form in his file.

A photograph of Ginsberg was placed in the Federal Narcotics files in 1967 as if it were a dangerous explosive, and a copy of the photograph was sent to the FBI. Ginsberg had openly campaigned against what he regarded as harsh antimarijuana laws that were used to arrest anti Vietnam War and other protesters. "He is pictured in an indecent pose," the report said. "For possible future use, the photograph has been placed in a locked sealed envelope marked "Photograph of Allen Ginsberg - Gen. File: ALLEN GINSBERG." The locked sealed envelope has been placed in a vault in this office for safekeeping.

The nature of his case was described as "antirioting laws" in 1968 by the Chicago office of the FBI. "[Name blacked out] advised he observed GINSBERG at Grant Park in front of the Conrad Hilton Hotel in conversation with associates," his report read. "GINSBERG chanted unintelligible poems in Grant Park on August 28, 1968." Ginsberg explained that the "unintelligible poems" were William Blake's "The Grey Monk."

Ginsberg was tracked in this country and abroad. When he returned from a trip to Montreal in 1969, his valise was opened, bonded and held for customs inspectors at Kennedy Airport. It contained his manuscripts, poems, what were described by authorities as obscene photographs, a position paper on narcotics that he had prepared for Senator Edward Kennedy, and newspapers. The Ginsberg file reveals that when he gave a poetry reading in 1970 at Quincy College in Illinois the FBI bureau in Springfield was alerted to be on the lookout for him because he was an "IS" (Internal Security) case. It was duly and soberly noted that he was billed as the "Hippie Poet."

During the first term of the Reagan administration, a list of eighty four people deemed "unsuitable" as government paid speakers abroad was prepared by the United States Information Agency. Among the names were Ralph Nader, the consumer advocate; Coretta Scott King, the black leader; Betty Friedan, the feminist; John Kenneth Galbraith, Paul Samuelson and Lester Thurow, economists; and Allen Ginsberg, poet. It was, most felt, the equivalent of the Nixon administration's "enemies list" - and an honor to be included, a disappointment to be left off.

As he demonstrated in one of his recent poems, "Industrial Waves," Ginsberg is unstoppable when it comes to defying the authorities with verse that outrages: "Free computerized National Police! / Everybody got identity cards? At ease! / Freedom for Big Business to eat up the sea / Freedom for Exxon to examine your pee!"

He remains at the cutting edge of controversy. His only weapons are chants and poetry that may be depended on to arouse Washington officialdom and delight his admiring peers and readers. He continues to campaign openly for causes he believes in. Ginsberg's plots thicken, and so undoubtedly does his FBI file.

Source: Herbert Mitgang, Dangerous dossiers: exposing the secret war against America's greatest authors (New York : D.I. Fine, 1988)

KWH on YouTube

Subscribe to the Kelly Writers House YouTube channel. It's been there for a while, but this summer we're adding a slew of video clips from a selection of our programs. Click here and click "subscribe."

series of black & white paintings

In the new building at the National Gallery in DC, I saw Barnett Newman's series of paintings--done between 1958 and 1966--called "The Stations of the Cross." The Stations of the Cross series of black and white paintings, begun shortly after Newman had recovered from a heart attack, is usually regarded as the peak of his achievement. The series is subtitled "Lema sabachthani" - "why have you forsaken me" - words said to have been spoken by Jesus on the cross. Newman saw these words as having universal significance in his own time. The series has also been seen as a memorial to the victims of the holocaust.

bill of rights, some kind of subversive document

"No doubt all of you recall the incident in Madison, Wisconsin, last Fourth of July, when American citizens were afraid to say they believed in the Declaration of Independence or the Bill of Rights. One hundred and twelve people were asked to sign a petition that contained nothing except quotations from these two immortal documents, and one hundred and eleven refused to sign the paper. Most refused because they were afraid it was some kind of subversive document and thought that if they signed it they would be called Communists." - JAZZES H. HALSEY, President, University of Bridgeport, in a speech delivered at the Opening Convocation of the College Year, University of Bridgeport, September 25, 1951. (Republished in Vital Speeches, November 1, 1951.)

that stupid jerk

When in my quick modern/postmodern American poetry survey course I teach the Beats (in two class sessions!), I briefly follow a few paths forward to see and hear where Beat poetics point. An example of one fairly narrow path leads to the rage for Maggie Estep, whose appearance on MTV (poetry on MTV--remember that?) was pretty much a sensation. Here is a recording of Estep performing "That Stupid Jerk I'm Obsessed With." Note that her final line is: "And I couldn't be happier." Try to figure out if she means that. And, yes, her bootlace is untied.

the written sea

The work by John Marin I know is watercolor. And mostly I've seen his early stuff--from the 1920s. But here is a canvas (at the National Gallery) done in oil, and it was made in his last year (1952; he died in '53). The curator at the gallery suggests that Marin's later painting--a flurry of caligraphic brushstrokes--"inspired the younger generation of abstract expressionists." Here Marin thinks of the perpetual movement of the windswept Maine seascape as a kind of writing. "The sea...wants to be horizontal," Marin said, "but then the horizontals begin to play, to move. Sympathetic lines turn up all over the canvas...all related to each other...all living together." The painting is called The Written Sea.

beginning afresh

making the archive available before it's too late

I read Ron Silliman's blog post yesterday with excitement and trepidation. He describes a personal archive of recordings of poetry readings that is remarkable (for its size and range) but also typical in the sense that there is no economy to support its being made available--or even for its preservation. If you read what Ron has to say here please be sure to look also at Steve Fama's comment.

Rothko's black series

DC yesterday: awful heat but two good PennSound-related meetings, one of them at the Library of Congress. But then, meetings done, to the tower we went. In and then up into the gorgeous new wing of the National Gallery in DC - to see a series of black Rothko paintings. Here's the official description: "The second in a series of Tower exhibitions focusing on contemporary art and its roots offers a rare look at the black-on-black paintings that Rothko made in 1964 in connection with his work on a chapel for the Menil Collection in Houston. A recording of Morton Feldman's Rothko Chapel (1971), the haunting music originally composed for that space,accompanies the exhibition in the spacious East Building Tower Gallery. A new 10-minute film examines the career of Rothko and his development of a style that fused abstract painting with emotional significance. Produced by the National Gallery of Art, the film will be shown continuously in the Tower Gallery." The show runs until January 2, 2011. See it!

Robert Coover

I ask Robert Coover if experimental writing is dangerous and necessary.

Ted Greenwald

Ted Greenwald reads from "In Your Dreams."

retelling the Iliad with the letter 'e'

In 2005, a seminar of Penn students and Charles Bernstein spoke with Christian Bok, making a recording that is now part of the "Close Listening" series hosted by Bernstein. Here is the recording and here is more information about the session. Now Michael Nardone has transcribed the interview for later publication in Jacket2 but we cannot resist offering a brief excerpt here:

- -

PENN STUDENT:
So, while we are talking about Eunoia, can we look forward to a consonant sequel?

BÖK:
A consonant sequel? No, I’ve promised myself that I won’t ever write another constraint-based book again. The blood-pact I have with my peer group is that every book we write will be radically different from its predecessor, that the entire oeuvre should be completely heteroclite. So, the next project requires learning a whole new skill-set and re-training my brain, in effect, to learn something else. I probably would not have the endurance now or perseverance required to actually finish a constraint-based book.

PENN STUDENT:
So, clearly, this is very constraint-based, and from what you’re saying, you’re probably going to set yourself a new set of rules every time you write something new. So, are you arguing for something, for going back to sort of the poetic formality that has existed forever, against the tide of free verse, or stream-of-consciousness?

BÖK:
Well, actually, I have no problem with those poetic forms. I think my only complaint about those poetic forms you’ve cited is that they are not feeling much incentive to innovate and produce something new and reinvent themselves in a manner which is exciting and stimulating. And to me, it’s not so important that the work actually demonstrate some sort of formalistic character, so long as it has some kind of innovative rationale for its practice. So, I’m not making a case, I think, for a return to rigorous and strict formality. You know, I’m not that fascistic or school-marmish, I think, in my sensibilities. But I did this project thinking that it was a kind of experimental work. I didn’t know if it could be done, and I merely conducted the experiment to see what would happen. And to me, that’s really what writing poetry is about, it’s a kind of heuristic activity where you indulge in a completely exploratory adventure through language itself.

PENN STUDENT:
Well, speaking of innovative rationale, where did your constraints, your content constraints about, you know, the nautical voyage and so forth, come from?

BÖK:
Okay, in the book, the five chapters have a thematic thread, which runs throughout the entire book. Every chapter has to allude to the art of writing. All the chapters have to describe a culinary banquet, a prurient debauch, pastoral tableaux, and a nautical voyage. These four scenarios are indicative of a vocabulary that’s common to all five vowels. It’s possible to say something erotic or culinary in theme in all the vowels cause they actually have that vocabulary common to all of them. So, I wanted there to be sort of thematic consistency across the entire book. I didn’t want it to be just five separate, individual stories that had no correlations with each other. I wanted there to be some sort of thematic parallelism, and it just so happened that these were the lexicons that were common to the five vowels. So, included them in the story.

Now, coincidentally, those four scenarios are, in fact, the kinds of scenarios you typically see in Greek epic poetry. And, for me, the word eunoia, which is originally from Greek, means quite literally “good-will”—it was a term coined by Aristotle to describe the frame of mind that you have to be in in order to make a friend—it seems to me it reflects a kind of neo-classical set of values about beautiful thinking. And certainly, there is a kind of classical story in there. The re-telling of the Iliad in chapter E, I think, alludes, in fact, to these kinds of four scenarios, which are common to a classical form of story telling. You would find these scenes in that.

PENN STUDENT:
So, did the classical idea come first, because when I read the nautical voyage, it reminded me of, sort of, epic, the epic tradition? So, did the research for what was common come first, or sort of a homage to the classical traditions?

BÖK:
It’s all a side effect of the actual vocabulary itself. It wasn’t as though I planned to write about these four scenarios. The vocabulary determined, in effect, what it was possible for me to say, and I simply said it. It just so happens that, I think, coincidentally, they are easily integrated into this rationale, this explanation, you know, that it has something to do with, I think, a kind of neo-classical, kind of Apollonian rigor or, you know, aesthetic value that I think the Greeks exemplify.

PENN STUDENT:
Okay, my final question: have you ever thought of joining an acapella group?

BÖK:
No, I don’t think so. I don’t think I would join an acapella group. I’m too much of an auteur.

I have no vocal training. I’m not a musician.

BERNSTEIN:
You know, I always thought Eunoia was what people said about poetry like ours: You annoy-a me.

BÖK:
That’s right, that’s right. That was the standard joke my friends when the book was out wearing its welcome, people would describe it as Annoy-you, or, better yet, Ennui.

four poets

From left to right, Frank Sherlock, Greg Djanikian, Ron Silliman and CA Conrad.

we're in Betty Friedan country here

Dean of Penn's College for Women in 1960. Oh, the problems of separatism. Click here for more.

the baseball fan (3)

William Carlos Williams’ “The crowd at the ball game,” a piece of the famous Spring and All sequence, bothers not at all to observe the game being played. Its power as art derives from “the power of their faces,” and it watches fans watching the game and calls the precision with which they do so beautiful. “The crowd at the ball game / is moved uniformly / by a spirit of uselessness.” There is no meaning or purpose to “the exciting detail / of the chase / and the escape, the error / the flash of genius.” These are “all to no end save beauty.” Williams both fears and loves the convergence of unity and diversity at a baseball game. The potential classlessness of the fans makes the crowd far more progressive than the game itself, thus justifying a poem about baseball that only glancingly mentions what happens on the field. Spring and All generally promulgates aspects of democratic culture apt for the modernist keen to observe fragmentation, cultural breakdown, disarray, and the reversal of traditional subject-object relations (observing the seers seeing rather than simply reporting the seen). The modernist’s fan-centered game bore out Jane Addams’ more overtly political question: Did not baseball belong to “the undoubted power of public recreation to bring together all classes of a community in the modern city unhappily so full of devices for keeping men apart?”

Levertov here and there

We don't have any recordings of Denise Levertov yet in PennSound, but Levertov appears, one way or another, here and there throughout our archive. Robert Creeley talks about her (with me at the Writers House). Ken Irby reads one of her poems. John Weiners in 1965 at Berkeley reads a poem dedicated to her. Albert Gelpi talks with Leonard Schwartz about the letters of Duncan and Levertov. And a letter Duncan wrote Levertov as he was finishing the poem "Often I Am Permitted to Return to a Meadow" is discussed in passing in our Duncan PoemTalk episode.

the page is like a score

PennSound's Maggie O'Sullivan page includes a recording of a discussion with Penn students in Charles Bernstein's "studio 111" seminar. Michael Nardone has transcribed the session now and here is a portion:

PENN STUDENT:
Thank you for your close reading, Ms. O’Sullivan. I was wondering if you could describe the relationship between performing your work and writing it.

O’SULLIVAN:
Well, it depends on, every situation is different. Performing it is another opportunity to re-engage with the text at different levels, and another opportunity to negotiate the text on the page.

As you’ve probably heard, I often find my work is quite difficult for me to read from the page. Writing it, I hear the sounds often in my ear. But having to perform it, all the difficulties emerge. There’s lots of disconnectiveness and disjunctiveness that is kind of working against how I sort of, how sometimes it seems it may be read.

PENN STUDENT:
Would you consider, sort of, maybe, performing it to be more body intensive than, I guess, writing it.

O’SULLIVAN:
Well, writing is a body-intensive activity, totally. Absolutely, totally. The whole body is engaged in the act of writing. Whether it’s on the computer, with using a pen in the hands. The breath is involved in all activities. But with the performing, there are others that you have to connect with, and the place of performing also figures on it.

PENN STUDENT:
A number of your poems integrate different languages, musical notes, pictures, and streaks, and they push the possibilities of poetic forms on the page. I was wondering whether this is supposed to conflict with the words, compliment them, or maybe even both.

O’SULLIVAN:
The words working as part of all this kind of radical shifting—

PENN STUDENT:
Right. Other forms on the page that would not be considered part of the traditional poetic form.

O’SULLIVAN:
Well, it’s all material on the page. The page is like a score. Like a place for painting, or drawing, or word making, whatever. I am seeking to extend the range of poetic, what is traditionally regarded as poetic material.

Charlesfest reviewed

Nicole Peyrafitte has written a review of our celebratory event for Charles Bernstein (marking his 60th and the publication of his selected poems).

the territorio libre of baseball

Watching baseball, sitting in the sun, reading Ezra Pound. Lawrence Ferlinghetti wants an Hispanic or African American [not "Chicano" per se] member of the San Francisco Giants to hit a hole through the Anglo-Saxon epic. He sees Willie Mays flee around the bases as if being chased by the United Fruit Company. The entire panoply of political consequences of his love of the American Other are played out in front of him on the diamond, the nation's traditional (and Irish coplike ump-dominated) game. It's a schticky performance, as so many Ferlinghetti's performances are, but the "revolution round the loaded white bases, / in this last of the great Anglo-Saxon epics, / in the territorio libre of Baseball," is certainly affecting.

Here is a recording of Ferlinghetti reading that poem: "Baseball Canto."

- -

I was pleased to receive a response to this blog post from Steve Fama, who reminded me that it's certainly worth pondering what Ferlinghetti means when he uses words to describe Caribbean, Central American and South American--and African American--baseball players and fans. "Chicano" won't work as a descriptor for the alternative to traditional baseball he means. See above, where I've noted that in square brackets.

Juan Marichal came to the MLB from the Dominican Republic. Tito Fuentes is Cuban. I think Steve and others who have commented on this poem are right when they say that the use of the term "Chicano" to describe the fans at Candlestick is reductive. This reduction is no help to Ferlinghetti's political position against the incursions of the United Fruit Company. The poem is schticky and imprecise.

the 32nd PoemTalk

From left to right: Marcella Durand, Jessica Lowenthal, Jennifer Scappettone. They're in my office at the Writers House, having just finished discussing Susan Howe's reading of Emily Dickinson's "My Life had stood - a Loaded Gun." It's the 32nd episode of the PoemTalk podcast. Please have a listen.

Ted Berrigan, as witty as one can in the face of the Holocaust

August 11, 1978. On the radio program, "In the American Tree: New Writing by Poets," Lyn Hejinian and Kit Robinson are our hosts, and the guest is Ted Berrigan. A PennSound recording of the show is available, and here--thanks to the work of Michael Nardone--is part of the transcription:

- - -

HEJINIAN:
We’re going to continue on now with our guest Ted Berrigan. This is "In the American Tree: New Writing by Poets."

Ted, you have a sequence of poems?

BERRIGAN:
Yeah, I’ll read three poems from a book, which I just completed, I completed it three or four months ago, it’s called Easter Monday, and it’s fifty poems. And they’re all, most of them are close to the same size, which is about, well, my favorite size, which is about 14 lines. Well, they are sonnets, in fact, but they don’t really work at that too much. Not all of them are. Some are longer. None are shorter, but some are quite long, quite a bit longer, because they just got longer sometimes, and when they did I just let them be longer.

These fifty poems are, fifty was an arbitrary number I decided upon ahead of time based on a theory that if you do two or three works that are fairly similar, and that you liked them, even if you just do one, you do one work and you like it and do another one that’s similar to it, there’s no particular reason to do the next one, a second one, and there’s no particular reason not to do it. But if you feel you have a number then there, you can set yourself this arbitrary number and just decide, well, I’ll do fifty of these. Then you’re sort of clear as to what you’ll be doing for a while. I got this idea from a painter friend of mine.

So, I did fifty of these, and it took me a lot longer than I thought it would. I said that I would do fifty. It’s called Easter Monday because it’s really about second life, life beginning about the age of 40. And since it is personal, I mean it is the second half of one’s life, it’s about being young, a young older person. I was involved in a second marriage, second family, but even if I hadn’t been, it still could have been the same thing.

Consequently, it is like Easter Monday. Easter Friday you die. Easter Sunday you rise again from the dead and that’s really glorious and wonderful, but then Easter Monday you have to get this job and support yourself for the rest of your life.

The poems were all written in two or three or four years from the time I was 38 until last year when I was 42. So they are not all about one’s whole second life, but rather about being aware of coming into that.

When I say they are about something, I mean, I strictly mean “about”. I don’t know what each poem is about particularly. I could study them and tell you what each one is about, but that’s not what I’m willing to do.

Each poem is a very separate poem. They are not like my work The Sonnets where, although every poem can stand on its own, they were sequential and serial in a certain way. There is some repetition of things, but it’s really like fifty separate works which were done knowing I was going to do fifty, and therefore they relate that way. Now, I knew what the themes were, though I didn’t work at them too hard. I just knew what they were.

This is the first three. The first one is called “Chicago Morning.” It’s dedicated to the painter Phil Gustin simply because I was looking at a painting of his while I was writing because it was hanging on the wall over the typewriter, and so I actually used some things in his painting to refer to when I couldn’t think of anything else to say.

[Reads “Chicago Morning”]

The second one is called “New Town.” New Town is a section of Chicago.

[Reads “New Town”]

“The End.” This is the third one. And these are the first three actually that were written, and it was after writing these three that I then decided I would go on and write 47 more. “The End.” Which is why I call this “The End” because I, you know, I wanted to get the end out of the way right away.

[Reads “The End”]

I’m going to read one more of those. Since my voice started to click in about the middle of the third one.

This is one that came later, maybe about the thirtieth one. This is a made work, and it was made from a master list in a psychology textbook. The title of it is “From A List Of Delusions Of The Insane, What They Are Afraid Of.” And this is a fairly classical sonnet of 14 lines, which works, in fact, in three fours and a two.

[Reads “From A List Of Delusions Of The Insane, What They Are Afraid Of.”

HEJINIAN:
What a list.

BERRIGAN:
Yeah, well, the children are burning. And we are those children. And they are those children too. And they are not insane.

All those things are very true. I mean, evil chemicals are in the air.

HEJINIAN:
And they are poor.

BERRIGAN:
And we are in the control of another power. We have stolen something, namely those lines.

I mean one has to be as witty as one can in the face of the holocaust.

gave up making choices

"It was at Harvard not quite forty years ago that I went into an anechoic [totally silent] chamber not expecting in that silent room to hear two sounds: one high, my nervous system in operation, one low, my blood in circulation. The reason I did not expect to hear those two sounds was that they were set into vibration without any intention on my part. That experience gave my life direction, the exploration of nonintention. No one else was doing that. I would do it for us. I did not know immediately what I was doing, nor, after all these years, have I found out much. I compose music. Yes, but how? I gave up making choices. In their place I put the asking of questions. The answers come from the mechanism, not the wisdom of the I Ching, the most ancient of all books: tossing three coins six times yielding numbers between 1 and 64." --John Cage, 1990

when I sleep = when I don't tweet

Some automated app gimic scans your tweets and then tells you when you typically sleep. It also assumes that when you sleep you don't tweet. I assume that's a fair assumption in 2010, but I doubt such for 2015. Anyway, of course it also presupposes that when you are awake you are tweeting. Quite a premise, no doubt self-serving.

What's frightening here is not that they assume wrongly that I go to bed at 11 pm, but that I am up at 5. I am, typically, but does that mean I'm using Twitter that early? There's a thought. Overall my response is: no thanks.

A note on grammar: "more likely to sleep..." More likely than what or whom? More likely than otherwise?

the book disappears

disappearing book no. 1 from disappearing books on Vimeo.

Facebook privacy peeve

This week the "Slate Culture Gabest" (a podcast I always listen to) did a segment on Facebook privacy. I hadn't realize the extent of anxieties out there. True, one doesn't want the entire world ("everyone," in Facebook parlance; or "friends of friends," which for me is almost everyone) seeing your photos, very much at all of your "bio" information, your status updates. So what's the big deal? Click "Account" at the top right, then click "Privacy Settings," and generally select "Friends only" for everything. You're done. Below is a screenshot of what people other than my approved "Friends" can see of me. Now do it or stop complaining or delete your Facebook account. I don't like Facebook's top-down tell-us-afterwards style of management, but there are a lot of things I don't like about Web 2.0. So I adjust or decline. Opt out is the phrase.

Giorno's first one-person show

John Giorno at Nicole Klagsbrun Gallery at 526 W. 26th St. Giorno presented his exhibition, "Black Painting and Drawings." He performed "Lorca, please help me!" and other poems. The show runs from until June 12. ArtSlant says:

For his first one-person show in New York, John Giorno will exhibit paintings and drawings that reveal the evolution of the poem painting. Filling the walls of the gallery are twelve stenciled poems; over these hang black paintings at close proximity. The installation echoes the artist’s statement in a recent Artforum interview: “From emptiness, form arises.” Giorno’s poem paintings serve as one more aspect of his role as a poet and artist—connecting words and images in unexpected yet elegant ways. A video of Giorno performing the poem THANX 4 NOTHING will be on display in the gallery’s project room.

The Black Paintings and Drawings represent the visual aspect of John Giorno’s commitment to confronting audiences with poetry in different contexts—inviting us to rethink how we perceive words and images. As with many downtown artists in the 1960s rebelling against Abstract Impressionism and inspired by Duchamp, Giorno sought alternative ways of writing and presenting his poetry: using the telephone (Dial-A-Poem), recordings (Giorno Poetry Systems) and multiples (poem prints). As he said in an interview with Hans Ulrich Obrist, given the influence of Warhol, Rauschenberg and Johns, he began to see “the possibilities of found images through words. The way I found and used the material, . . . became a poetic form.” The first Poem Prints were part of a Dial-A-Poem installation in the 1970 exhibition Information at the Museum of Modern Art.

Photographs by Lawrence Schwartzwald. For more about Lawrence's work, click on the tag below.

down the line from Williams and Pound

The Pennsylvania Current is now running a story about the legacy of poetry at Penn: "Penn’s rich poetry legacy," by Tanya Barrientos. It features a nice mention of the Kelly Writers House and of PennSound.

an assemblage of paradoxes in one body

Listen to a brief audio biography of the Baroness Elsa von Freytag Loringhoven.

Here is a blurb I wrote for Irene Gammel's biogrpahy of the Baroness: "The Baroness cut the most compelling modernist figure. She literally wore New York dada, thus inventing it as a pattern of aesthetic costume to be worn so tight that it was her skin, her self. She was, as Irene Gammel puts it in this remarkable biographical study, an 'assemblage of paradoxes embodied in one body.' That the Baroness knew and inspired or inspiringly repelled nearly everyone associated with the rise of modernist practice in New York has been already part of the story, but it has never been so richly detailed. In Gammel's presentation the Baroness emerges as far more than an ingenue. She became a mature, self-conscious dynamic artistic force--and remarkably productive in her own right, not despite but because she exhausted herself up from the inside out."

a book launch event in which the book was re-published

Back on April 21, Danny Snelson, Tan Lin and others spread themselves across the entire first floor of the Writers House to produce an on-the-spot re-publication event around Tan's Seven Controlled Vocabularies (Wesleyan, 2010).

"Edit: Performing Networked Publishing," organized by Danny, focused on editorial strategies and textual conditions in contemporary writing. It was a roving events series exploring innovative performances, critical archiving, and live editing toward an exploration of editorial activity in contemporary writing and the arts. Featuring a team of poet-editors including Chris Alexander, Alejandro Crawford, Kareem Estefan, J. Gordon Faylor, Kristen Gallagher, Lawrence Giffin, Diana Hamilton, Eddie Hopely, Sueyeun Juliette Lee, Patrick Lovelace, Jeremy Thompson, Sara Wintz, and Al Filreis accompanying Tan Lin in the re-publishing of SCV on the spot in a variety of formats. The event began at 1pm, with a reception and Q&A that happened at 6pm. The works to be published include "Handmade book, PDF, lulu.com, Appendix, Powerpoint, Kanban Board/Post-Its, Blurbs, Dual Language (Chinese/English) Edition, micro lecture, Selectric II interview, wine/cheese reception, Q&A (xerox) and a film.

goodbye Arlen, hello Ike

You like Ike. I like Ike. Everybody likes Ike. Ike for President, Ike for President. We'll take Ike to Washington. Hang out the banners, beat the drum, we'll take Ike to Washington. You like Ike. I like Ike. Now is the time for all good Americans to come to the aid of their country. Ike for President, Ike for President, Ike for President, Ike for President....

It's a gem. A thirty-second television ad from the 1952 campaign. Yesterday, arriving home after voting against Arlen Specter in the Pennsylvania primary election, I thought it might be apt to honor mindlessly for a few minutes the candidate who didn't know what party he belonged to until not long before he declared his candidacy for the presidency, whose centrism was real, whose legislative record had been nil, and whose campaign (quite aside from his Vice Prez choice) was innocent to the point of silliness. Then I washed my hands, cleaned out the hallway closet, and breathed the cool late-spring air. Ready to have my political lungs filled up again with the usual soot.

Anthony, Nate, Greg

From left to right: Anthony DeCurtis, Nate Chinen, and Greg Djanikian. Nate, my (and Greg's) former student and later a Kelly Writers House staffer, is now a regular music critic for the New York Times. See his NYT pieces.

"altogether now" altogether

Just a few hours ago today at the Writers House, with me from left to right: Alice Eliot Dark, Moira Moody, Beth Kephart. Alice and Beth read beautifully from their work. I was ready to explain the interlocking connections of these four, and planned to link from here to Beth's blog, which I read regularly. So naturally I went to Beth's blog to pick up the URL for the link and, lo and behold, Beth had driven home and had already written out the convergence. So I need only refer to you her blog, which I do so happily. Let me just add that I've been a pleased and moved reader of Alice's "In the Gloaming" for years and was gratified that she chose to read from that very story this afternoon at KWH. Pretty soon we'll have a recording available and you can listen too.

a question for Milch

holiday trilogy

I'm proud to have helped fund this play: "The third in [Cecilia] Corrigan’s holiday trilogy, Memorial Day combines live performance with video 'news reports' and carefully culled quotations on the subject of patriotism and nationhood. Corrigan describes this as a 'collage of influences,' noting that the play features words from Ann Coulter alongside those of Ralph Waldo Emerson." For more, go here.

Philly the day I arrived 25 years ago

Twenty-five years ago to the day I arrived in Philadelphia, having been hired as an assistant professor at the University of Pennsylvania. As I flew in a Piedmont Airlines jet over the city, I looked below me and saw huge plumes of black smoke rising up from a neighborhood west of the west bank of the Schuylkill River. What the hell is going on? What is this city I've come to? The mayor and police had firebombed the MOVE house on Osage Avenue. Welcome to Philly, Al. Now, a quarter century later, I live on Osage Avenue.