Nomadics

Meanderings & mawqifs of poetry, poetics, translations y mas. Travelogue too.

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Rachida Madani: “Walk through the Ruins”

April 16th, 2014 · Live Reading, Poem, Translation

RachidaIn preview of Rachida Madani‘s reading tonight at 6:30 at Silvana 300 W 116th street in New York, here is a poem I just translated for the event from her collection Femme je suis / Woman I am.

Walk through the ruins
that wreck us
and tell yourself that we’re camping
in a crumbling of stones
even if no denunciation
transfers from the sand
to accumulate dune upon dune
     storm upon storm
all the way to the fusion of sand with blood
where the desert ends,
where the dancing corpses of the desert
stop troubling our sleep
sucking our blood crazed with the damned
between two assassinations
two cells
two traps at the corner of a dark street
where we are tellers of legends
        to come
braiding our discoveries in a network of
        obsessions
communicable via contagions of ruins.

We have never come to terms with the desert
we have let camels run loose in it hostile
to the rough sketch of fake towns
built on mirages
where everyone is buried in their metallic
        resonance
serves them as compass
all seeing their city according to their mirages.

Walk all the way to the sonorous extremity of the desert
that serves as a link
between errancy and the right to be a human.
We are nomads until worn down,
have neither tent
     nor palm tree
     nor rest halt in the
     desert’s monstrous night.
Have neither language nor hope
nor anyone
to listen to our bristling voices
glass shards
on top of the walls
     no dream to lose
     no throne to gain
barely a scarlet foam
the result of a long march…

I want you without hope
when you knock on my door
and my door’s caught red-handed
in its absence,
when all I do is stroll
through my obsession
when time brings back to me
        only time
and sand only sand.
But in what cut up fiber inside me
in what abrasion to locate you
when I love you and walk
apart from you
because of too many fractures
through a rugged landscape where you persist
in the erasures’ meanders
alone
standing
struck by
lightning
facing the ruins.
Burned up
uprooted
a knife between the teeth
irrefutable beneath the lightning storm to witness
against what harrows us with a razor
and the crowd you love
beyond the infinite disaster.

The crowd for which you build trenches
on your very flesh
for which you hallucinate
pupils of towns issues of your wounds
and the bloody poems
that slash us
in the desert’s immobility, the crowd.

The crowd made drowsy by a tired
muwashaha, dead deep inside a palace
one booze-sodden night,
that separates us the splinter-crowd,
the crowd…
I sense the haggard beast
that turns a beastly thought
mortally wounded
for having one day by chance
      maybe
— certainly —
caught a raging toothache
and that started to chase its tail
all the way into schizophrenia the crowd…
I am double and unable
to understand why the crowd.

Walk you know how mortal
love is.
I carry us wounded,  at death’s door
to the center of the nightmare
where I love you while selecting the crowd
with my voice crossing out all the closed furrows
that obstruct the walk.
I love you.
It’s a broken tendon
it’s a blocked breath
it’s a strange night
like an exploding vein
I pick up in a sprain
for which I’ll blame
an imagination beyond the possible
if it weren’t this blood itself
this piece of evidence
that acquits me of all imagination
of all sarcasm
and when I say blood
I think of nothing but this country
that I place nowhere
except there where I am arterial blood pressure
harbinger
of certain death
      in rivulets
from my head down to the public squares.
At any rate an intuition
that turns into clandestinity
in my bone marrow
       and spreads the plague.

I love you and am not in the process
        of singing love
I don’t need to encumber myself with a chant.
I do not know how to sing when it’s a matter of
ruins that furrow me.
I howl a country that transpierces me my
body from one end to the other
that pulverizes me
that hurls a desert in my face.

A country
a desert
I am encumbered by a distress
I dissect
     ring after ring
that ends up chaining me
to the dialectic of ruins
only then do I see
this country
do I understand how much my head
is bowl of blood,
how much we need to walk, to march
even separated
even destroyed
even half crazed
hallucinating in the glass night
with the crowd.
I tell you march and I march
neither you nor I
have hated enough
have sowed enough bacilli of the damned
across these towns.

March you have never left me
you will never leave me
as long as there is this semblance of a country
that we want at all costs to be ours
even at the risk of ending up unidentified in the desert’s
infernal infinity.
For you
for me
for all of this earth’s plague-stricken
love is the desert’s
      hallucinated
       excrescence.

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A New Arab Magazine of Experimental Writing

April 14th, 2014 · Aesthetics, Arab Culture, Arabic, Experimental Writing, Poetics, Poetry

Via the incomparable Arab Literature (in English) website:

Makhsin

‘Makhzin’ and the Link Between Multilingualism and Experimental Writing by mlynxqualey

At 6 p.m. tomorrow, the new experimental, trilingual Makhzin will launch its first issue in Beirut. Editor Mirene Arsanios answered a few questions about the project:

ArabLit: Why experimental works? What role do you think experimental and avant garde works play in the literary arts? Locally, regionally, globally?

Mirene Arsanios: Experimental work is a broad term. I understand it, in the context of Makhzin, as writing that doesn’t fit into a genre, be it poetry, fiction, or creative non-fiction. What is important, in my opinion, is the sense of urgency that drives the writing. Having said that, Makhzin also publishes straightforward fiction and poetry. In the editorial process, rather than thinking traditional/ experimental, we looked for pieces that played with conventions, structures, and narrative voices.

On a personal level, I was always “naturally” drawn towards experimental writing. I grew up speaking different languages, and never felt at “home” in any of them. Experimental writing often explores positions and voices that are not represented in mainstream literature (women writers, queers writers, writers who don’t write in their native language, or that simply don’t have one).

Amira Hanafi witnesses the Egyptian revolution through her female body. Raed Rafei writes about a homosexual man forced to undergo a medical check up. Alex Cuff harvests her material from online forums on pubic hairstyles and ways of shaving. Writers are drawn to experiment with language when available forms seem obsolete, ossified and not fit to express their realities. But again, I would avoid a dogmatic reading of the experimental versus the traditional. Experimental writing can be so many things (so does conventional writing!) depending on your context, city, language. Makhzin also wants to juxtapose what a poet is writing in Morocco and what a poet is writing in NY. Sometimes their writings can be similar, sometimes not. 

 But again, I would avoid a dogmatic reading of the experimental versus the traditional. Experimental writing can be so many things (so does conventional writing!) depending on your context, city, language.

AL: How does this fit into 98weeks’ mission?

MA: In 2010, 98weeks embarked on a research titled “On Publications,” which looked at the history of cultural and literary magazines in the Middle East. We had two focuses: Shi’r magazine and Al Hilal magazine. We also organized a book fair of independent publishers called “Why Do You Publish?” I was interested in publishing, its history and legacy, but also wanted to do something in the present. 98editions stemmed from that research project. We published fours individual chapbooks, which you can see on our website. After that experience, I felt the need to cultivate and broaden our readership, hence Makhzin. 98editions developed into its own independent small press, but it also maintains a connection to 98weeks research. For instance, 98editions will develop two publications around 98weeks’ current research theme, Feminisms.

AL: How did the three guest editors work with you, with each other? Why did you choose them? Did you give them particular instructions?

MA: The editors are friends and people I admire for their work with language and writing. Ghalya Saadawi is herself an editor and a writer. Omar Berrada is a translator and a writer working with literature and art. Lara Khaldi is a curator. I wanted people who were steeped in both art and literature. There were no instructions per se. We all live in different countries so most of the selection process was carried via (long!) Skype meetings. We had different rounds before agreeing on our final selection. Omar and Lara did most of the Arabic selection. We all did the English part, and Omar, Ghalya, and I discussed the French texts.

AL: Were you looking to push boundaries / “red lines,” or did it just happen that way?

MA: There was no particular agenda in terms of pushing boundaries or crossing lines. But since the editors all have an interdisciplinary background (art, literature, curating, theory), the selection was perhaps more flexible, and the outcome more varied then it would be in a strictly literary or artistic magazine.

AL: There is a tradition of multilingual publications in Beirut. How do you decide the balance of languages? Or does it just depend on what you receive? Why Wajdi al-Ahdal in translation instead of in Arabic? 

MA: The balance of language depended on what we received. Percentage wise, most writings are in English, then Arabic, and lastly, French. Concerning Wajdi al-Ahdal; I invited Nada Ghosn, a translator from Arabic to French, to submit a piece for Makhzin. She proposed to translate a short story by Wadji al-Ahdal. I often encounter or discover texts through a translation. While keeping a connection to the original, Nada’s translation also becomes its own text.

I often encounter or discover texts through a translation. While keeping a connection to the original, Nada’s translation also becomes its own text.

AL: How will you be distributing Makhzin? Why print? 

MA: Part of what prompted the creation of 98editions is an interest in chapbook culture, printed matter, and its circulation in a community of readers (global and local). All 98editions publications are designed by Karine Wehbé. Our first four publications each have their own format, developed in close collaboration with the authors. We wanted to insist on the specificity and singularity of each book. We distribute Makhzin in Beirut in bookshops and art spaces; 98weeks, Papercup, Bourj Library, BAC, Ashkal Alwan. Shortly, people will be able to order our publications on line.

AL: Are you accepting submissions for N02?

MA: Very soon!

 

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Reading of Rachida Madani’s Tales of a Severed Head

April 13th, 2014 · Uncategorized

Rachida Madani
w/ Pierre Joris
&
accompaniment by Gnawa Boussou

When: April 16, 2014 | 6:30pm
Where: Silvana  300 W 116th St New York, NY 10026

Silvana hosts a reading of Rachida Madani’s “Tales of a Severed Head” on April 16 at 6:30pm, with Rachida Madani and Pierre Joris, featuring accompaniment by Gnawa Boussou, a traditional Moroccan band based in New York. Rachida Madani, a native of Morocco, has published several volumes of poetry in French, a language she also taught for thirty years.
A lifelong political militant, she expresses her resistance: “not by shouting slogans and waving banners. I fight with my words.” This event is part of a multi-cultural and eclectic experience of English and Francophone poetry. At the close of the “Printemps des poètes” festival in France, New York takes the torch, offering a diverse program of voices, sounds, drawings, and stories in which new poets and established masters use literary panache to express their social and political convictions. This cycle also includes Anne Portugal and Pierre Alféri.

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Uri Avnery — In One Word: Poof!

April 12th, 2014 · Israel, Palestine

April 12, 2014

In One Word: Poof!

POOR JOHN Kerry. This week he emitted a sound that was more expressive than pages of diplomatic babble.

In his testimony before the Senate Foreign Relations committee he explained how the actions of the Israeli government had torpedoed the “peace process”. They broke their obligation to release Palestinian prisoners, and at the same time announced the enlargement of more settlements in East Jerusalem. The peace efforts went “poof”.

“Poof” is the sound of air escaping a balloon. It is a good expression, because the “peace process” was from the very beginning nothing more than a balloon full of hot air. An exercise in make-believe.

JOHN KERRY cannot be blamed. He took the whole thing seriously. He is an earnest politician, who tried very very hard to make peace between Israel and Palestine. We should be grateful for his efforts.

The trouble is that Kerry had not the slightest idea of what he was getting himself into.

The entire “peace process” revolves around a basic misconception. Some would say: a basic lie.

Namely: that we have here two equal sides of a conflict. A serious conflict. An old conflict. But a conflict that can be solved when reasonable people of the two sides sit down together and thrash it out, guided by a benevolent and impartial referee.

Not one detail of these assumptions was real. The referee was not impartial.  The leaders were not sensible. And most importantly: the sides were not equal.

The balance of power between the two sides is not 1:1, not even 1:2 or 1:10. In every material respect – military, diplomatic, economic – it is more like one to a thousand.

There is no equality between occupier and occupied, oppressor and oppressed. A jailer and a prisoner cannot negotiate on equal terms. When one side has total command of the other, controls his every move, settles on his land, controls his money flow, arrests people at will, blocks his access to the UN and the International courts, equality is out of the question.

If the two sides to negotiations are so extremely unequal, the situation can only be remedied by the mediator supporting the weaker side. What is happening is the very opposite: the American support for Israel is massive and unstinting.

Throughout the “negotiations” the US did nothing to check the settlement activity that created more Israeli facts on the ground – the very ground whose future the negotiations were all about.

A PREREQUISITE for successful negotiations is that all sides have at least a basic understanding not only of each other’s interests and demands, but even more of each other’s mental world, emotional setup and self-image. Without that, all moves are inexplicable and look irrational.

Boutros Boutros-Ghali, one of the most intelligent people I have met in my life, once told me: “You have in Israel the most intelligent experts on the Arab world. They have read all the books, all the articles, every single word written about it. They know everything, and understand nothing. Because they have never lived one day in an Arab country.”

The same is true for the American experts, only much more so. In Washington DC one feels the rarefied air of a Himalayan peak. Seen from the grandiose palaces of the administration, where the fate of the world is decided, foreign people look small, primitive and largely irrelevant. Here and there some real experts are tucked away, but nobody really consults them.

The average American statesman has not the slightest idea of Arab history, world-view, religions, myths or the traumas that shape Arab attitudes, not to mention the Palestinian struggle. He has no patience for this primitive nonsense.

SEEMINGLY, THE American understanding of Israel is much better. But not really.

 Average American politicians and diplomats know a lot about Jews. Many of them are Jews. Kerry himself seems to be partly Jewish. His peace team includes many Jews, even Zionists, including the actual manager of the negotiations, Martin Indyk, who worked in the past for AIPAC. His very name is Yiddish (and means a Turkey).

The assumption is that Israelis are not very different from American Jews. But that is entirely false. Israel may claim to be the “Nation-State of the Jewish People”, but that is only an instrument for exploiting the Jewish Diaspora and creating obstacles for the “peace process”. In reality there is very little similarity between Israelis and the Jewish Diaspora, not much more than between a German and a Japanese.

Martin Indyk may feel an affinity with Tzipi Livni, the daughter of an Irgun fighter (or “terrorist” in British parlance), but that is an illusion. The myths and traumas that shaped Tzipi are very different from those that shaped Martin, who was educated in Australia.

If Barack Obama and Kerry knew more, they would have realized from the beginning that the present Israeli political setup makes any Israeli evacuation of the settlements, withdrawal from the West Bank and compromise about Jerusalem quite impossible.

ALL THIS is true for the Palestinian side, too.

Palestinians are convinced that they understand Israel. After all, they have been under Israeli occupation for decades. Many of them have spent years in Israeli prisons and speak perfect Hebrew. But they have made many mistakes in their dealings with Israelis.

The latest one was the belief that Israel would release the fourth batch of prisoners. This was almost impossible. All Israeli media, including the moderate ones, speak about releasing “Palestinian murderers”, not Palestinian activists or fighters. Right-wing parties compete with each other, and with rightist “terror-victims”, in denouncing this outrage.

Israelis do not understand the deep emotions evoked by the non-release of prisoners – the national heroes of the Palestinian people, though Israel itself has in the past exchanged a thousand Arab prisoners for one single Israeli, citing the Jewish religious command of “redemption of prisoners”.

It has been said that Israel always sells a “concession” three times: once when promising it, once when signing an official agreement about it and thirdly when actually fulfilling the undertaking. This happened when the time came to implement the third withdrawal from the West Bank under the Oslo agreements, which never happened.

Palestinians know nothing about Jewish history as taught in Israeli schools, very little about the holocaust, even less about the roots of Zionism.

RECENT NEGOTIATIONS started as “peace talks”, continued about a “framework” for further negotiations, and now the talks have degenerated to talks about the talks about the talks.

Nobody wants to break off the farce, because all three sides are afraid of the alternative.

The American side is afraid of a general onslaught of the Zionist-evangelical-Republican-Adelson bulldozer on the Obama administration in the next elections. Already the State Department is frantically trying to retreat from the Kerry “poof”. He did not mean that only Israel is to blame, they assert, the fault lies with both sides. The jailer and the prisoner are equally to blame.

As usual, the Israeli government has many fears. It fears the outbreak of a third intifada, coupled with a world-wide campaign of de-legitimization and boycott of Israel, especially in Europe.

It also fears that the UN, which at present recognizes Palestine only as a non-member state, will go on and promote it more and more.

The Palestinian leadership, too, is afraid of a third intifada, which may lead to a bloody uprising. Though all Palestinians speak about a “non-violent intifada”, few really believe in it. They remember that the last intifada also started non-violently, but the Israeli army responded by deploying snipers to kill the leaders of the demonstrations, and more suicide bombing became inevitable.

President Mahmoud Abbas (Abu Mazen) has responded to the non-release of the prisoners, which amounted to a personal humiliation, by signing the documents necessary for the Palestinian State to join 15 international conventions.  The Israeli government exploded in anger. How dare th

In practice, the act means little. One signature means that Palestine joins the Geneva Convention. Another concerns the protection of children. Shouldn’t we welcome this? But the Israeli government fears that this is one step nearer to the acceptance of Palestine as a member of the International Criminal Court, and perhaps the indictment of Israelis for war crimes.

Abbas is also planning steps for a reconciliation with Hamas and the holding of Palestinian elections, in order to strengthen his home front.

IF YOU were poor John Kerry, what would you say to all this?

“Poof!” seems the very minimum.

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… & Now The English Version…

April 11th, 2014 · Uncategorized

Poet’s Spring 2014

 

poet-spring-2-83080The Cultural Services of the French Embassy presents an eclectic series of engaging events in New York in April, featuring prominent Francophone and Anglophone poets such as Rachida Madani, Pierre Alferi, Anne Portugal, Adonis, Pierre Joris, Ben Lerner, and Anna Moschovakis.  With an insatiable appetite for word play, American poets and Frenchpoètes come together to open up a broad reflection on poetic writing and to embark on a discussion of the role of poetry in the often-converging worlds of literature and politics.

Multicultural events will take place at Silvana, the Poets House, McNally Jackson Books, New York University, the Public Theater, and other acclaimed venues, to unveil the complex and innovative nature of poetry.  Poet’s Springincorporates readings, a round table discussion, a master class, live music, political discourse, and illustration, and is inspired by the simultaneously occurring Printemps des poètesfestival in France.

Highlights include a reading by Rachida Madani of her Tales of a Severed Head, paired with a traditional Moroccan music performance by Gnawa Boussou, a discussion with poetsPierre Alferi, Anne Portugal, Ben Lerner and Anna Moschovakis accompanying illustrations by students from School of Visual Arts and a show by the musician Charlie Burnham and a rare Master Class with Syrian author Adonis in conversation with celebrated American poet Jorie Graham at The Public Theater.

The 2014 PEN World Voices Festival will then kick off in collaboration with Poet’s Spring with an event in which 12 prominent thinkers will bring their rage to the stage for 7-minute orations.

Also check out: http://frenchculture.org/

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Le Printemps des poètes 2014 — in New York

April 11th, 2014 · Book Presentation, Poetry Cuisine, Poetry readings

poet-spring-2-83080

Les Services Culturels de l’Ambassade de France présentent une série éclectique d’évènements passionnants à New York en avril, avec la présence de poètes francophones et anglophones tels que Rachida Madani, Pierre Alferi, Anne Portugal, Adonis, Pierre Joris, Ben Lerner, et Anna Moschovakis.

Animés d’un appétit insatiable pour les jeux de langage, des poètes Américains et français se retrouvent pour ouvrir une large réflexion sur l’écriture poétique et s’embarquer dans une discussion sur le rôle de la poésie dans les mondes souvent convergents de la littérature et de la politique.

Des évènements multiculturels se tiendront au Silvana, au Poets House, à la librairie McNally Jackson, à l’université NYU, au Public Theater et autres institutions culturelles de renom, pour dévoiler la nature profondément complexe et innovante de la poésie. Inspiré du Printemps des poètes, organisé chaque année en France à la même saison, Poet’s Spring proposera des lectures, une table ronde, une master class, des concerts, des discours politiques et des illustrations.

Toutes les informations et les différents évènements : frenchculture.org

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Help Save New York Public Library!

April 10th, 2014 · Books, New York

 DontGutOurLions

The campaign to save some of New York City’s most popular and beloved libraries needs your help.

Can you make a donation now to save NYPL?

Donate to Save NYPL

There is an extraordinary new groundswell of opposition to the New York Public Library’s expensive, misguided plan to sell branch libraries including the Mid-Manhattan, gut the 42nd Street research stacks, and exile much of the world-famous public research collection to New Jersey.

Eight Pulitzer Prize winners have spoken out against this plan. One of them, comix legend Art Spiegelman, created the powerful image you see above. Another, MacArthur Fellow and National Book Award winner Junot Diaz, writes, “To destroy the NY Public Library is to destroy our sixth and best borough; that beautiful corner of New York City where all are welcome and all are equals.”

Lydia Davis, Man Booker prize-winning author, slams the trustees’ plan as “so obviously an irresponsible real estate deal that places pure greed for profit over the advancement of learning and enlightenment.” National Book Award-winning writer Jonathan Lethem warns that institutions like NYPL “can’t be entrusted to the stewardship of real-estate developers, corporate synergists, media barons, and other ostensibly well-intentioned, deal-drunk one-percenters.”

And fourteen of Mayor de Blasio’s closest allies — the leaders of key unions and community groups, as well as prominent progressives like Susan Sarandon and Gloria Steinem — just asked the mayor to allocate the $150 million City taxpayer subsidy for the plan to struggling branch libraries instead.

The Save NYPL campaign needs your financial support to stop the gutting of one of the world’s great public research institutions and the sale of two of New York City’s most popular branch libraries. Can you make a donation right now?

Thousands have emailed Mayor de Blasio already to call on him to stop this ill-conceived and wildly unpopular deal. But he hasn’t yet responded, and with the City budget deadline approaching, the time to stop this plan is now! Every dollar you donate will help save the libraries you love, and all donations are tax-deductible.

Thanks for your support!

The Committee to Save New York Public Library

Copyright © 2014 Committee to Save the NYPL, All rights reserved.Our mailing address is:
Committee to Save the NYPL
232 East 11th Street
New York, NY 10003

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New Issue of Hyperion: Musil, Carmelo Bene, Emilio Villa & More!

April 3rd, 2014 · Aesthetics, Criticism, Literary Magazines & Reviews, Literature, Translation

A superb issue of a magnificently eclectic magazine, just out!

hyperion-logo

Volume VIII, No. 1 (spring 2014)

This issue of Hyperion is dedicated to

Louis le Brocquy (1916–2012)

Complete Issue
PDF [forthcoming soon]
Also available on issuu.com [forthcoming soon]

Cover
PDF

Mast Head
PDF

Table of Contents
PDF

Thought… to the Purpose
PDF

Nicholas Birns, Reenchantment is not Enough:
Gosetti-Ferencei’s Post-Heideggerian Heidegger
PDF

Jennifer Anna Gosetti-Ferencei, A New Poetics of Dasein
PDF

Carmelo Bene: I am Non-Existent: Therefore I am
Translated by Carole Viers Andronico
PDF

Carmelo Bene: Being in Abandonment: Reading as Non-Memory
Translated by Rainer J. Hanshe
PDF

Carmelo Bene, Well, yes, Gilles Deleuze!
Translated by Rainer J. Hanshe
PDF

Emilio Villa, Litany for Carmelo Bene
Translated by Dominic Siracusa
PDF

Louis le Brocquy, The Human Head: Notes on Painting & Awareness
PDF

Miklós Szentkuthy, Prae [excerpt]
Translated by Tim Wilkinson
PDF

Ferenc Takacs, Intro [forthcoming]
PDF

Miklós Szentkuthy, James Joyce: Summa Atheologiae
Translated by Erika Mihálycsa
PDF

Miklós Szentkuthy, Why Ulysses Again?
Translated by Erika Mihálycsa
PDF

Erika Mihálycsa, Horsey Women & Arse-temises:
Wake-ing Ulysses in Translation
PDF

Nicholas Birns, Pigeon-Quivering Test Idols:
John Cowper Powys & Miklós Szentkuthy
PDF

Balázs Kerber, Ancient Rome as Postmodern Metaphor:
The Rome Interpretations of Szentkuthy & Fellini
PDF

Robert Musil, Short Prose
Translated by Genese Grill
PDF

Christopher Whyte, The English for an Anti-Elegy
Translating Tsvetaeva on Rilke
PDF

Marina Tsvetaeva, Happy New Year
Translated by Christopher Whyte
PDF

Lou Castel, My “State of Things”
Translated by Rainer J. Hanshe
PDF

Lou Castel, Before / After the Filming of The Stoning of St. Stephen
Translated by Rainer J. Hanshe
PDF

Quote
PDF

REVIEWS

Nicholas Birns, Powys & Purdy: An Epiphany of Cognitive Kinship
PDF

Beatriz Leal Riesco, František Vláčil, Marketa Lazarová
PDF

Back Cover
PDF

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“An American is a Complex of occasions:” Charles Olson Reads

April 2nd, 2014 · Poet, Poetry readings

A dream last night of a largish figure hurrying along a rock outcropping at a seashore — can only be Charles Olson, methought. A bit puzzled as Olson, whom I never met, has never, as far as I remember, shown up in my dreams. The dream may be a footnote to a conversation I had earlier last night with Ammiel Alcalay on his excellent A Little History book, as we wondered through the chapbook exhibition at Poets House which had copies of some Olsonia, & after hearing/watching Kyle Waugh’s presentation on chapbooks. At any rate, this morning, post-dream a desire to hear Olson’s voice, & so googled him & found these, here now, to share:


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Lost & Found Series IV Launch

April 1st, 2014 · Book Launch, Literature, Poetry, Poetry Festival

image006

Thursday, April 3, 4pm

Lost & Found Series IV Launch

Ammiel Alcalay, Iemanjá Brown, Emily Claman, Stefania Heim, erica kaufman,
Bradley Lubin, Kate Tarlow Morgan, Kristin Moriah, Conor Tomás Reed,
Talia Shalev, Wendy Tronrud, Kyle Waugh

Room C198
image007

Join us for a celebration of the publication of Lost & Found: The CUNY Poetics Document Initiative Series IV, an award-winning, internationally recognized publication of original research and extra-poetic work edited by Graduate Center students and faculty. Editors will read, perform, present multimedia, and discuss their projects, which include the Pauline Kael and Robert Duncancorrespondence; a film script by Ed Dorn intended for Stan Brakhage;Adrienne Rich’s CUNY teaching materials from the early years of Open Admissions; Before Gloucester, portraying poet Vincent Ferrini’s years as a factory worker, and After the Harlem Renaissance, the later poems of Helene JohnsonLost & Found Series IV will be available for pre-publication purchase.Cosponsored by the PhD Program in English. This project is supported in part by an award from the National Endowment for the Arts.
Free and open to the public. All events take place at The Graduate Center, CUNY, 365 Fifth Ave btwn 34th & 35th. The building and the venues are fully accessible. For more information please click here, call 212.817.2005 or e-mail ch@gc.cuny.edu

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