Black History in 1880s Vancouver
London Open Mic Poetry Archive
  • Home
  • Frank Davey Blog
  • Stan Burfield Blog
    • Fred Burfield's Homestead Memoirs
  • Our Events
  • News
  • PHOTOS & SUMMARIES
    • Season 5: 2016-2017 >
      • June 7th, 2017: Summary & Photos featuring Stan Burfield
      • May 3rd, 2017, Summary & Photos featuring Jason Dickson
      • April 5th, 2017 Summary & Photos, feeaturing James Deahl & Norma West Linder
      • Mar. 1st, 2017: Photos & Summary featuring Andy Verboom
      • Feb. 1st, 2017: Photos & Summary featuring Ron Stewart
      • Dec. 7th, 2016: Photos & Summary featuring David Stones
      • Nov. 2th, 2016: Photos and Summary featuring Don Gutteridge
      • Oct. 5th, 2016: Photos and Summary featuring David Huebert
    • Season 4: 2015-2016 >
      • June 1st, 2016: Photos and summaries: featuring Lynn Tait
      • May 4th, 2016 Photos and Summary: featuring indigenous poetry
      • April 6, 2016 Photos & Summary, featuring Steven McCabe
      • Mar. 2nd, 2016 photos, summary: featuring Andreas Gripp
      • Feb. 3rd, 2016 photos: 3 Western students.
      • Dec. 2, 2015 photos: featured reader Peggy Roffey
      • Nov. 7, 2015 photos: Our Words Fest open mic
      • Nov. 4, 2015 photos: featured reader Charles Mountford
      • Oct. 7th, 2015 photos: Madeline Bassnett featured
    • Season 3, 2014-15 >
      • Aug. 16, 2015 photos: The Ontario Poetry Society's "Sultry Summer Gathering"
      • June 3rd, 2015 photos: John B. Lee featured
      • May 6th, 2015 photos: Laurie D Graham featured
      • Apr. 1st, 2015 photos: John Nyman & Penn Kemp featured
      • Mar. 4th, 2015 photos: Patricia Black featured.
      • Feb. 4th, 2015 photos: feature Gary Barwin
      • Dec. 3rd, 2014 photos: Feature Debbie Okun Hill
      • Nov. 5th, 2014 photos: feature Julie Berry
      • Oct. 1st, 2014 photos: feature Roy MacDonald
    • Season 2, Sept. 2013 to June 2014. >
      • June 4th, 20114, featuring Monika Lee
      • May 7th 2014, featuring Susan McCaslin and Lee Johnson
      • Sept. 4th, 2013 featuring Frank Beltrano
      • April 16th, 2014, featuring Penn Kemp and Laurence Hutchman
      • March 5th, 2014, featuring Jacob Scheier
      • Feb. 5th, 2014: featuring four UWO students of poetry; music by Tim Woodcock
      • Jan. 2nd, 2014: featuring Carrie Lee Connel
      • Dec. 4th, 2013, featuring M. NourbeSe Philip
      • Nov. 6, 2013 , featuring Susan Downe
      • Oct. 2nd, 2013, featuring Jan Figurski
    • Season 1: Oct. 2012 to June 2013 >
      • June 4th, 2013 featuring David J. paul and the best-ever open mic
      • May 1st, 2013, featuring Sonia Halpern
      • Apr. 24, 2013 featuring Frank Davey & Tom Cull
      • Mar. 6th, 2013, featuring Christine Thorpe
      • Feb. 6th, 2013, featuring D'vorah Elias
      • Jan. 3rd. 2013: John Tyndall featured.
      • Dec. 5, 2012: RL Raymond featured
    • Dig These Hip Cats ... The Beats
  • Poet VIDEOS (open mic & featured readers)
    • 5th Season Videos (2016-2017)
    • 4th Season Videos (2015-16)
    • 3rd Season Videos (2014-2015)
    • 2nd Season (2013-2014) videos
  • BIOGRAPHIES - Featured poets & musicians
  • INTERVIEWS & POEMS (featured poets)
    • SEASON 6 - Interviews & Poems >
      • Kevin Shaw: Poem & Interview
      • David Janzen - Interview
    • SEASON 5 INTERVIEWS & POEMS
    • SEASON 4 INTERVIEWS AND POEMS
    • SEASON 3 INTERVIEWS AND POEMS
    • SEASON 2 INTERVIEWS & POEMS (only from Dec. 4th, 2013)
    • Season 1 INTERVIEWS & POEMS (& 1st half of Season 2) >
      • INTERVIEWS of Featured Poets
      • POEMS by Featured Poets (1st Season & to Nov. 2013)
  • Couplets: Poets in Dialogue
  • Future Events
  • Past Events
    • 5th Season: 2016-2017
    • Season 4: 2015-2016
    • Season 3: 2014-2015
    • Season Two: 2013-2014
    • Season One: 2012-2013
  • Who we Are
  • Testimonial
  • Our Mission
  • Links
  • Contact us
  • Frank Davey Blog
  • Frank Davey Blog
  • New Page

Bernstein's More Perfect Pitch of Poetry

4/4/2016

5 Comments

 
Picture
Pitch of Poetry, by Charles Bernstein. Chicago: U of Chicago P, 2016. 350 pp. $34.44.

Here Charles Bernstein is pitching poetry, pitching for poetry, and describing both the acoustic and visual pitch of poetry, and the field, the pitch, of poetry. He’s at once a shill, a carney, a huckster, a used-poem salesperson, a showman, a shaman, a promoter, a master of ceremonies, a promoter, a provocateur, a pitch-man – but only occasionally an apologist. The likes of Sophocles, Longinus, and Sydney all beat him to it, but it’s never too late to pitch again for poetry. A relief pitcher. Plato and his followers have kept hitting dingers. Bernstein is and wants to be the reason the poets were expelled from the Republic. He reads askance the ‘official verse’ poets who have tried not be expelled.

In one possible reading this book is 350 pages of Whitman saying “Do I contradict myself? / Very well then I contradict myself, / (I am large, I contain multitudes.)” For Bernstein, Poetry contains multitudes. He spurns poetry that is orthodox, normal, conventional, predictable, standard. “I can’t bear standards,” he writes, “or, rather, I want to lay them bare” (28). He describes the magazine L=A=N=G=U=A=G=E that he co-founded with fellow poet Bruce Andrews in 1978 as having “pursued a poetry aversive to convention, standardization, and received forms, often prizing eccentricity, oddness, abrupt shifts of tone, peculiarity, error, and the abnormal – poetry



Read More
5 Comments

Reading Innovative Poetry, Reading READING THE DIFFICULTIES

4/18/2014

0 Comments

 
Picture
Reading the Difficulties: Dialogues with Contemporary American Innovative Poetry, ed. Thomas Fink and Judith Halden-Sullivan. Tuscaloosa: U of Alabama Press, 2014. 230 pp. $34.95.


Reading the Difficulties is another spring 2014 release in the Modern/Contemporary Poetics series co-edited by Charles Bernstein and Hank Lazer. It is less a book about how to read ‘difficult’ contemporary poetry than one that presents examples of readers doing that. The subtitle, “dialogues with contemporary American innovative poetry,” suggests that “reading” can involve having “dialogues” with poems, and is a fair description of most of the contents. Two of the twelve essays are on Canadian poets, bpNichol and Lisa Robertson, who appear to have become honorary Americans for this occasion. Or perhaps “American” has been unconsciously redefined here as referencing North America – the rapid globalization of literary distribution and creation has complications for everyone. Also frequently cited here is a third Canadian, Steve McCaffery.

Difficult not to notice is the sometimes awkwardly close connection between the book and series co-editor Bernstein, who rather famously linked the word ‘difficulty’ to his own writing in his 2011 collection The Attack of the Difficult Poems. Much of the first third of this book reads like a tribute that important book. The lead-off contribution is his 2006 poem “Thank You for Saying Thank You,” which begins “This is a totally / accessible poem.” The fourth essay is a comparison by Stephen Paul Miller of Bernstein and Walter Benjamin as radical secular Jewish poets. Thirty-three mentions of Bernstein are listed in the index (mostly in the first 50 pages), more than double those of any other writer except for fellow Language poet Ron Silliman who receives 23.   

The arguments of most of the contributors indeed have their roots in Bernstein’s assertions over the years in work such as The Artifice of Absorption (1987) and Content’s Dream: Essays 1975-84 (2001) against the reduction by readers and teachers of literary works to their “content” – a scandalizing argument that has paralleled in the US poetry scene the one which I introduced to the Canadian Literature criticism scene in 1974 with my (“vastly influential” according to the Oxford Companion [one hopes!]) essay “Surviving the Paraphrase.” Paralleled with rather more panache, disruptive force and literary consequence, I would say. Here is some of Bernstein’s “artifice of absorption” argument against paraphrase, i.e. against throwing away a text’s materiality while “absorbing” its imagined/abstracted “meaning”:


Read More
0 Comments

Laura Riding, Poet from High Modernism

4/4/2014

0 Comments

 
Picture
Contemporaries and Snobs by Laura Riding. Ed. Laura Heffernan and Jane Malcolm. Tuscaloosa: U of Alabama Press, 2014. 129 pp. $34.95


Contemporaries and Snobs was first published by Doubleday Doran in 1928, during the period  (1925-30) of Riding’s most influential presence in the international high modernist writing scene. It was a time in which she published poetry and commentary in major modernist journals, was in contact with Gertrude Stein, Wyndham Lewis and T.S. Eliot, lived with Robert Graves and co-wrote with Graves A Survey of Modernist Poetry (1927), which the editors of this volume describe as the “first formal study to consider the work of E.E. Cummings, Hart Crane, Conrad Aitken, Marianne Moore, Ezra Pound, Vachel Lindsay, T.S. Eliot, John Crow Ransom, Edith Sitwell, and Allen Tate as a single movement” (xi).

There is no surprise in its being republished: it’s an important document not only of the male dominance of that literary scene but also of the conflicts within it that are often understated in literary histories. There is perhaps some mystery in it being republished within Alabama’s   “Modern/Contemporary” Poetics series edited by Charles Bernstein and Hank Lazer. Is there a connection being implied between the literary politics of the 1920s and those of recent US poetry? Are Riding’s acid criticisms of Eliot’s self-canonizing essays and her perceptive readings of Stein being reframed in order also to reframe the various works of Language poets?

However what could impress a reader first in Riding’s book is how distant her assumptions are from those in contemporary poetry. While challenging Eliot’s emphasis on ridding poetry of the personal and subjective, his stress on impersonality, she also readily accepts his implication that literature and literary periods can be only classical or romantic, and uses it to construct a history of English literature and Western culture as an oscillation of classical and


Read More
0 Comments

Revisiting Marjorie Perloff on 'Unoriginal' Poetry #uncreativewriting

9/2/2013

0 Comments

 
Picture
Marjorie Perloff’s Unoriginal Genius: Poetry by Other Means in the New Century was first published in a hardbound edition by the University of Chicago Press in 2010, but was made available last fall in an inexpensive full-size paperback. The book is printed on heavy photographic paper to accommodate its numerous images, some of them in colour. Perloff, for those who don’t follow “poetry by other means,” has been for the past two decades the most influential global scholar of alternative poetries – aka the avant-garde.

Thirty years ago I presented a paper at McGill in which I lamented that term for its apparent linearity, like an army on the march, and quoted Baudelaire’s mistrust of its overt militarism. Perloff here offers a strong case for retaining both it and its category, positing a historical avant-garde that began in Europe in the latter part of the nineteenth century and which developed until approximately 1916 when it began to be overwhelmed by the Great War, the Depression, the Second World War, the Cold War and the conservative expressive poetics all four events encouraged. The recovery of that avant-garde, and the creation of new poetries built on its methods of appropriation, quotation, collage and montage, are what she finds to be simultaneously both avant-garde and arrière-garde today. A military avant-garde usually has an accompanying arrière-garde, she points out, writing “[w]hen an avant-garde movement is no longer a novelty, it is the role of the arrière-garde to complete its mission, to ensure its success. The term arrière-garde, then, is synonymous neither with reaction nor with nostalgia for a lost and more desirable artistic era; it is, on the contrary, the 'hidden face of modernity' (Marx 6)" (53). 

She declines the association of “progress” with both “avant-garde” or any intellectual movement, including the ethical progress often claimed for literature by post-colonial theorists (in Canada see Diana Brydon in “Canada and Postcolonialism” 64  and Pauline Butling in Writing in Our Time 122), implying that the most that literature can aim to accomplish socially is to be formally relevant to its cultural moment (53).


Read More
0 Comments

Reading Charles Bernstein RECALCULATING

5/7/2013

1 Comment

 
Picture
Recalculating is Charles Bernstein’s twenty-first poetry collection, released this past month by the University of Chicago Press. The title, plus the cover image of a man looking down to his right as he drives and his female passenger looking somewhat anxiously ahead, not too subtly alerts the reader to a metaphoric invocation of the currently ubiquitous GPS navigator. The image, arrestingly anachronistic in the 1950s hat, scarf and tie that the man wears, suggests the traditional heterosexual couple, with the man driving, the woman subject to his driving; I was reminded that I have my in-car GPS set to speak to me in a woman’s voice. I was also, most likely along with many readers, prompted to begin looking for what might be being recalculated in Bernstein’s poetics. For over the years Bernstein’s poems have been mostly illuminations of poetry itself, and of language usage.

However the image of the couple on the cover also reminded me, as I’m fairly sure I was intended to be, of the couple that Bernstein is a part of, with his partner, the artist Susan Bee, and of their shockingly unexpected loss at age 23 of their artist and art-theorist daughter, Emma Bee Bernstein, in 2008. Indeed, five pages in, the book begins with a epigraph page topped by a tribute passage by Bernstein’s friend and L=A=N=G=U=A=G=E poetry colleague, Bob Perelman, to Emma. Page 11 bears another epigraph from Emma’s own writings, one that seems uncannily to allude to the cover image: “ ... put your hands on the wheel ... look only as far as the blur of passing yellow lines to see the present .” The personal note that all this strikes is itself unexpected in a Bernstein book – a Bernstein who has repeatedly asserted that poetry is about itself, and about language. Was this also being recalculated? However, perhaps a reader should also remember that when the GPS voice tells you it is “recalculating” it’s not telling you that you are changing your destination – only that you are now about to take a new, and unexpected, route toward it.

The opening poem of the book, “Autopsychographia” – marked as having been based on one by Portuguese poet Fernando Pessoa – begins

  
     Poets are fakers
    Whose faking is so real
    They even fake the pain
    They truly feel  
    And for those of us so well read
    Those read pains feel O, so swell

The lines suggest a familiar Bernstein understanding of the lyric as a futile attempt at self-expression and sincerity – that language is always a representation that we might act on but whose authenticity is impossible to demonstrate. Although far from reconciling poetry and “pain,” the lines do point toward the numerous



Read More
1 Comment

    Author

    FRANK DAVEY: Poet, former Coach House Press editor, co-founder of TISH newsletter in 1961, co-founder of e-mag Swift Current in 1984, editor of poetics journal Open Letter, 'author' of Bardy Google in 2010 (Talonbooks), author of the tell-much biography of bpNichol, aka bpNichol in 2012 (ECW), and author of the recently published poetry collection Poems Suitable to Current Material Conditions (Mansfield). He has two other websites: a personal one at FrankDavey.net and one (co-managed with David Rosenberg) focused on poet bpNichol at  akabpNichol.net -- have a look!

    Postal Address: Books for review or other mail may be sent to FD at OPEN LETTER, 102 Oak Street, Strathroy, ON N7G 3K3, Canada

    -Bio/interview by 'Open Book'
    -Shorter bio/interview
    -Biography, online

    Categories

    All
    Adeena Karasick
    Agnes Threlkeld
    Aka Bpnichol
    Alan Edward McCartney
    Alan Reed
    Alice Munro
    Al Purdy
    Amodern
    Art Deco
    Artist's Homes
    Avant Garde
    Avant-garde
    Barack Obama
    Barbara Godard
    Barnicke Gallery
    Basil Bunting
    Battle
    Beauty
    Bill Bissett
    'Black Mountain'
    Bookthug
    BpNichol
    Buddhist Ecopoetics
    Canada At War
    Canadian Art
    Canadian Literature
    Canadian Pacific Railway
    Canadian War Lit
    CanLit Institution
    CanLit Teaching
    Ceramics
    Charles Bernstein
    Charles Olson
    Charles Olson
    Christian Bok
    Christine Miscione
    Christl Verduyn
    Climate Change
    Coach House Press
    Cold War
    Collaboration
    Conceptual Art In Britain
    Conceptual Poetry
    Concrete Poetry
    Creative Writing
    Daphne Marlatt
    Dennis Cooley
    Derek Beaulieu
    Devil's Artisan
    Donato Mancini
    Earle Birney
    Ecopoetry
    Emily Carr
    Epistolary Poems
    Eternal Network
    Eva Zeisel
    Ezra Pound
    Fetish Objects
    First World War
    Flarf
    Fluxus
    Frank Sanderson
    Franz Karl Stanzel
    Fred Wah
    Garry Thomas Morse
    General Idea
    George Bowering
    Gertrude Stein
    Greg Curnoe
    Gwendolyn MacEwen
    Gwynne Dyer
    Hart House
    Identity
    Indigenous Poetics
    Industrial Poetry
    Installation Art
    Irving Layton
    Jackson Mac Low
    Jacqueline Du Pasquier
    James Schuyler
    John Cage
    J.R. Colombo
    Judy Chicago
    Juliana Spahr
    Julian Assange
    Jussi Parikka
    Kathryn Mockler
    Kenneth Goldsmith
    Kevin Mcpherson Eckhoff
    Kit Dobson
    Language Poetry
    Laura Farina
    Laura Riding
    Lea Hindley-Smith
    Lemon Hound
    Leonard Cohen
    Lionel Kearns
    Lisa Anne Smith
    Lisa Robertson
    Literary Celebrity
    Literary Marketing
    Lola Tostevin
    Louis Dudek
    Louise Bourgeois
    Louis Zukofsky
    Love Letters
    Lyric Poetry
    Lytle Shaw
    Manifestos
    Mansfield Press
    Margaret Atwood
    Marjorie Perloff
    Max Laeuger
    Media Archaeology
    Michael Davidson
    Michael Morris
    Michael Ondaatje
    Mimesis
    Mina Loy
    Minimalism
    Misogyny In Poetry
    Modernism
    Nadezhda Tolokonnikova
    National Anthologies
    Nelson Ball
    Norman Yates
    Open Letter
    Pataphysics
    Paul Martin
    Peter Jaeger
    Peter-quartermain
    Philippe Petain
    Phyllis Webb
    Pierre Coupey
    Poetic Community
    Poetics
    Poetry Readings
    Procedural Art
    Public Poetics
    Pussy Riot
    Pussy Riot
    Rachel Blau Duplessis
    Rae Armantrout
    Robert Creeley
    Robert Duncan
    Robert Fitterman
    Robert Kroetsch
    Robert Lallemant
    Robert Lecker
    Ron Silliman
    Second World War
    Sharon Thesen
    Sherrill Grace
    Slavoj Žižek
    Smaro Kamboureli
    Stan Bevington
    Stan Dragland
    Stephen Voyce
    Steve Mccaffery
    Susan Bee
    Swiftcurrent
    Telidon
    Thea Bowering
    The Martyrology
    Theodor Adorno
    Tim Inkster
    TISH
    Tomson Highway
    Toronto Research Group
    Trg
    T.S. Eliot
    U-331
    U-Boat Surrenders
    Us Fiction
    Vimy Ridge
    Vincent Massey
    Visual Poetry
    Walter Benjamin
    Warren Tallman
    W.C. Williams
    Weardale
    Wikileaks

    Archives

    January 2022
    September 2020
    August 2017
    August 2016
    April 2016
    March 2016
    February 2016
    December 2015
    November 2015
    October 2015
    August 2015
    July 2015
    June 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015
    December 2014
    November 2014
    October 2014
    September 2014
    August 2014
    July 2014
    June 2014
    April 2014
    March 2014
    February 2014
    January 2014
    December 2013
    November 2013
    October 2013
    September 2013
    August 2013
    July 2013
    June 2013
    May 2013
    April 2013

    RSS Feed

Proudly powered by Weebly