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Archivi tag: experimental writing
robert grenier: “sentences” (1978)
Robert Grenier. Sentences.
Years after its publication of the original edition of 500 boxed 5″ x 8″ index cards, Whale Cloth Press has made available a web-based version of this important work.
[Notes] [Images of the original box]
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From the Eclipse Archive:
Sentences Toward Birds (1975)
Robert Grenier
Sentences Toward Birds was published in 1975 by Curtis Faville’s L Publications in a small edition (under one-hundred). The cards are housed in a manila envelope and sealed with a red sticker. Faville’s cover design, based on a vintage postcard, gives a nod to the jacket design of Grenier’s Dusk Road Games: Poems 1960-1966 (Cambridge: Pym Randall, 1967), and the format of the unbound cards anticipates the monumental Sentences (Cambridge: Whale Cloth, 1978) in which some of the poems reappear. The envelope and title page state the title differently.
The order displayed @ Eclipse is aleatory; the cards were intended to be read in any sequence.
http://eclipsearchive.org/projects/BIRDS/html/contents.html
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Outside the Box: A Discussion of Robert Grenier’s Sentences.
Hosted by Al Filreis and featuring poets Bob Perelman, Jena Osman, and Joseph Yearous-Algozin.
Here: https://www.poetryfoundation.org/podcasts/75583/outside-the-box-a-discussion-of-robert-greniers-sentences
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https://www.granarybooks.com/pages/books/1310/robert-grenier/sentences?soldItem=true
altri nomi per altre scritture: due interventi recenti, anche su academia
Due interventi recenti (uno relativamente vicino) ho pensato fosse utile inserirli anche in Academia. Non essendo uno studioso ‘incardinato’, anzi tenendomi ben lontano dall’università, posso permettermi di inserire anche dei ‘draft’ incompleti (perfino giocosi, in qualche caso).
Cfr. https://uniroma1.academia.edu/MarcoGiovenale/Drafts (con bonus track su Bordini)
Fin dall’inizio del Novecento, se non da prima, si sono attestati altri nomi, e prima ancora altre forme, ad affiancare o francamente sostituire il vocabolo “poesia”. Dalle “epifanie” joyciane, dalle infinite escursioni verbali e verbovisive di Emilio Villa, fino alle prose in prosa francesi e italiane, il percorso è costellato di ‘entità’ scritte che sembrano scavalcare e beffare le divisioni in generi letterari, e non semplicemente allargare il contenitore poesia, ma uscirne completamente e – si direbbe – definitivamente, lasciando a chi resta (nel contenitore) di baloccarsi con versi, rime e ritmi.
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I due testi sono disponibili anche su archive.org:
https://archive.org/details/nioques-frisbees-e-altre-deviazioni
https://archive.org/details/poesia-non-morta
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rachel blau du plessis: selected poems 1980-2020 (chax press)
DuPlessis’s Selected Poems is a generous collection including early work “rewriting the lyric” through serial poems to a comprehensive selection from her long poem Drafts. The book includes work from Traces, with Days up to 2020, including a selection of one of her collage poems.
True to their name [Drafts], the poems accent provisionality, risk, the absence of guarantee, delving into words and word parts with a heteroglossic verve that seems vengeance at times. With recourse to an astonishing range of techniques and material devices, formal concern as inclination and qualm, these poems register, lament, react to and wrestle with erosions on multiple fronts—psychic, social, historical, somatic….They affirm and negate the toll history takes on letter and spirit, affirming and negating and navigating a way between.
— Nathaniel Mackey, Chancellors’ Reading List
These new books [from Traces, with Days] remain true to the sense of loss that haunted DuPlessis’s generation and still haunts us—lost people or “the disappeared” and, increasingly, the lost species climate change brings. I have focused on the politically engaged and materially embodied nature of DuPlessis’s recent works here, and how they speak to our “catapulted” contemporary state. I have looked back at how they move on from and connect with her previous serial poems and her deep classical, Jewish, and modernist roots, and considered her restless search for new-old forms that can mirror the complexity of our “Human Universe.”
— Harriet Tarlo, Chicago Review
Throughout her distinguished career, Rachel Blau DuPlessis has explored hybridity in its many forms, working at the interstices of modern/postmodern, sacred/secular, long poem/lyric, text/image.
— Paul Jaussen
https://www.chax.org/product-page/selected-poems-of-rachel-blau-duplessis
re-issue of ‘tip of the knife’
Re-issue of Tip of the Knife: https://tipoftheknife.blogspot.com/2020/07/tip-of-knife-final-issue-35-tribute-to.html
On the 3rd year anniversary on August 4th of Bill DiMichele‘s passing, a special and final issue of Tip of the Knife celebrating the Visual Poetry of Bill has been re-issued. This issue includes a curated selection from some of Bill’s numerous series and references to other art and music. It was very difficult for Will and me to choose the work to publish since his body of work is so extensive and diverse. Thanks again to Crag Hill for adding some work from Score (Visual Poetry magazine from the 80s that Crag, Laurie Schneider and Bill co-edited), Burnhole (Bill’s poetry from the 90s) and a multi-media afterward by Crag with some help from Will (production and guitar).
Thanks to Crag for all of his help and for being such a good friend. And thanks to all of the artists who have contributed to TOK over the years. We appreciate your contribution to the success of TOK.
Bill is missed by all who knew him as a friend and fellow artist. He is dearly missed by Will and me as a wonderful father and husband.
Julie DiMichele
jim leftwich — eleven books
8 books by Jim Leftwich from Luna Bisonte Prods
1 by Jim Leftwich and Steve Dalachinsky from Luna Bisonte Prods
1 by Jim Leftwich from Locofo Chaps
& 1 by Jim Leftwich from mOnocle-Lash
Luna Bisonte Prods is at Small Press Distribution
Jim Leftwich
Tres tresss trisss trieesss tril trilssss: Transmutations of César Vallejo
January 2018
Jim Leftwich’s transmutations (not translations) of the poetry of César Vallejo are nothing short of brilliant. They feel more Vallejo in English than any previous translations ever have . Vallejo is certainly, bar none, among the greatest poets of the 20th century. Human, more than immediately human, tortured, both baroque and surreal, and lyrical beyond compare, his poetry defies translation, so difficult does it appear at times. This is especially the case with his early work Trilce (Tres tresss trisss treesss tril trilssss, as Leftwich’s title has it). Claimed by the surrealists as a master in that genre, Vallejo is that and more than that, opaque as Góngora or bittersweetly acerbic as Lorca, the complexity of his language and imagery find few parallels (the poetry of Dino Campana’s Canti orfici leaps to mind). Leftwich has created a Vallejo more Vallejo than Vallejo at times, and certainly makes for far more interesting and challenging a read than, for example, the deliberately strained translations of Clayton Eshelman. Leftwich, a poet renowned in his own way for complexity and baffling linguistic virtuosity, has certainly found an equal, a compatriot, one might say, in Vallejo. These transmutations have all the speed, energy and enigmatic beauty of the originals on which they are based. The foreword by Retorico Unentesi is also something to be savored for its rich and layered interpretations. -Ivan Arguelles
esce ‘canada’, n. 1, interamente dedicato a gastone monari. introduzione di aldo tagliaferri
Canada 1: Gastone Monari / Ideato e curato da Conceived and edited by Roberto Canella, Achille Filipponi / Introduzione Preface Aldo Tagliaferri / Progetto grafico Graphic design Federico Antonini (superness.info) / Traduzioni Translations Karen Whittle / Postproduzione Postproduction Chiara Talacci / Ringraziamenti Thanks to Lea Melandri Rita Monari / Un sentito ringraziamento va a Lea Melandri, amica fedele e custode di tutto l’archivio del poeta. Senza il suo contributo e la sua incondizionata fiducia, questa pubblicazione non avrebbe mai visto la luce.Heartfelt thanks go to Lea Melandri, faithful friend and custodian of the poet’s entire archive. Without her contribution and unconditional faith, this publication would never have seen the light of day. / Stampato presso Printed by ÀNCORA ARTI GRAFICHE Via B. Crespi, 30 – 20159 MILANO / Prima edizione First edition 300cp / 21×29,7 cm 240 pp / Offset / Sovraccoperta PVC / Settembre 2021 September 2021 / © Canada
https://www.canadaisnotcanada.it/
“il cotone”, di mg: reading dell’autore, con presentazione di gianluca garrapa
[mixcloud https://www.mixcloud.com/QuestaSera/marco-giovenale-autore-11062022/ width=100% height=120 hide_cover=1]
Intervista per Radio Questa Sera a Marco Giovenale su Il cotone. (Bioflocculazione), Zacinto/Biblion, 2021, cui l’autore ha abbinato il brano musicale Strollin’ dall’album omonimo, Strollin’, di Chet Baker del 1986.
Il libro:
https://www.biblionedizioni.it/prodotto/il-cotone/
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antonio syxty incontra gianluca picconi: su “la cornice e il testo. pragmatica della non-assertività” (tic edizioni)
alcune prose (in prosa) lette al parco pietro rosa il 17 luglio (grazie a “onde anomale”)
In occasione del D.I.Y. Day “Onde Anomale”, a Ostia, nel parco Pietro Rosa, lettura di poesie e prose @ Parcuino: https://slowforward.net/2022/07/08/onde-anomale-a-ostia-il-17-luglio/
MG legge alcune prose da Il paziente crede di essere (Gorilla Sapiens, 2016) e Quasi tutti (Miraggi, 2018). Registrazione video di Giuseppe D’Acunto.
the ny “bunker” of william burroughs: an interview with john giorno / christian lund. 2018
Louisiana Channel
the optimism of the unwilling / jim leftwich. 2022
The Optimism of the Unwilling
Jim Leftwich
Summer 2022
Nevada
I was I was.
I was thinking. At least I think I was thinking.
Is it possible to think about the fact of 4.6 billion years? I don’t think so.
So. Photographs. We have seen a few, maybe a few hundred thousand. We think we know how to think about photographs.
When are you reading this?
Are you reading it 4.6 billion years after it was written? No.
Are you reading it 4.6 million years after it was written? No.
Are you reading it four thousand and six hundred years after it was written? Maybe. Probably not. But at least I can imagine such a thing.
Are you reading it 460 years after it was written? Could be. I would like to think so.
Are you reading it 46 years after it was written? Sure! Why not? I know: megadroughts, 100-year floods, heat domes, forest fires, resource wars, famines… Another world is possible, and in it you could be reading this… If. If only.
Are you reading it four and a half years after it was written? Yes? Thank you. Where you are, it is January, 2027. I know it isn’t much. But that’s how.. one not much after another… there isn’t any other way.