Just out: Salt Companion to Charles Bernstein, ed. William Allegrezza

Publication Date: 25-Sep-12 | ISBN: 9781844714858 | Trim Size: 228 x 152 mm | Extent: 388pp | Format: Paperback / softback

William Allegrezza's introduction to the Compation via Poems and Poetics.

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“What we have here is the ideal Primer for the Gradual Understanding of Charles Bernstein: the coverage is wide, & all you need is “to be ready, not prepared.” You will not be asked to lounge on the couch as nobody remembers its colors, but the essays come in all colors, except sad. Enjoy, & then get back to the poems.” —Pierre Joris

“A major poet for our time — & then some – Charles Bernstein has emerged as a principal voice –maybe the best we have – for an international avant-garde now in its second century of visions & revisions. It is in celebration of this that the Salt Companion to his work appears here, to show him in a trajectory from an American-centered language poetry in the 1970s to an active & significant relation to a constantly renewing & expanding global poetry in which his singularity has played a vital role. What becomes clear in these pages is how his generosity of mind & spirit continues to enrich us all.

” —Jerome Rothenberg

Introduction

William Allegrezza 1

Charles Bernstein Or An Insistence To Communicate

Caroline Bergvall 6

Either You’re With Us And Against Us: Charles Bernstein’s

Girly Man, 9–11, And The Brechtian Figure Of The Reader

Tim Peterson 11

The Cave Children Of New York Are Never Free

Miekal And 30

The Metaphysical Mouth And The Asylum Of The Everyday: Charles

Bernstein And Contemporary Continental Philosophy Of Language

Michael Eng 35

“Gazoop” Replaces “Is/Are” “In A Restless

World Like This Gazoop Gazoop”

Madeline Gins 55

Girly Men Ballads: (Il)Legible Identities In

Charles Bernstein And Gertrude Stein

Kimberly Lamm 57

That Poem For Charles Bernstein

Lars Palm 85

“Spectres Of Benjamin”: (Re)Presentation And (Re)

Semblance In Charles Bernstein’s Shadowtime

Steven Salmoni 86

What As Poetic

Steve Mccaffery 111

Taking On The Official Voice: Charles Bernstein’s Poetic

Sophistry And Post-Process Writing Pedagogy

Megan Swihart Jewell 114

From The Alphabet

Ron Silliman 134

Beyond The Valley Of The Sophist: Charles

Bernstein, Irony, And Solidarity

Paul Stephens 140

Poem For Charles

Ray Craig 169

To Think Figuratively, Tropically: Charles Bernstein’s Post-9/11

Grammar And Pragmatist Lessons In The Age Of Baudrillard

Jason Lagapa 172

Charles Bernstein’s Anti-Suburban Poetry

Peter Monacell 192

Some Nouns

Donald Wellman 207

From A Philosophy Of Poetry To Poetry As Philosophy:

The Dialectical Poetics Of Charles Bernstein

Carlos Gallego 208

Content’s Profusion: Noise, Interruption And Reverse

Peristalsis In The Poetics Of Charles Bernstein

Michael Angelo Tata 234

Charles Bernstein In Buffalo 1999–2004

Kristen Gallagher 261

Charles Bernstein’s Catalogue Poetry

Thomas Fink 269

Readdressing Constructivism And Conceptual

Art:Aspects Of Work Factured By Charles Bernstein

Allen Fisher 286

Circles From Which

Maggie O’sullivan 301

Visual Strategies: A Line, A Verse, Something On Paper

James Shivers 302

After Residual Rubbernecking (A Speculative Non-Serial Anti-Romance)

Erica Hunt 340

A Life, Spliced: On The Early Tapeworks Of Charles Bernstein

Michael S. Hennessey 344

Notes On Contributors 370

Credits 376

Acknowledgements 377

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cover photo by Emma Bee Bernstein

March 22 Poetry Reading at galerie éof, Paris

(c) Daisy Atterbury

After a day of conversation on Thursday March 22 at Université Paris Est Créteil, Charles Bernstein, Jean-Marie Gleize, Martin Glaz Serup and Martin Richet gave a reading at galerie éof in Paris. Recordings of the reading are posted below.


Part 1 Martin Glaz Serup reads from The Field in Danish and English

Part 2 Jean-Marie Gleize reads from his new ms., a sequel to Tarnac.


Part 3 Martin Richet reads from his Autobiographie de Gertrude Stein with Charles Bernstein reading D. Stonecipher's translation of Martin Richet's poems.



Part 4 Charles Bernstein reads from Pied bot with Martin Richet reading his translations.

« It’s a warm day in March », After Charles Bernstein by Genji Amino

The following poems were written through Charles Bernstein's words and tropes by American poet Genji Amino who studied with Bernstein at the University of Pennsylvania. The poems are from a new book forthcoming from Peel Books, the press Genji Amino is starting. 
You can download the document with proper layout here. New page sections are indicated below by *.

he is considered this great author

but it wasn’t it didn’t move me per se

for years in terms of that white male other

that has to create that balance otherwise

am i gonna be some woman's

mother's nightmare

oh he writes poetry

get him the hell out of here

i don’t understand his mind

what are his values

we all go through this

poetry is not any more happy

than the century in which it is in

*

Dante is Dante

and the bus driver is the bus driver

but I'm not convinced about that difference

when he was graduating harvard

that could either make you feel or it could make you feel

call it adolescent sublime

he attacks songs of poets as the beauty of nature and so on

put their heads in the sand in his generation

to take away that idea

nothing makes any difference

*

I have other stuff happening

*

I'm seen or remarked

*

I live in different communities

*

I never leave my house

*

I get distracted

*

I like to imagine everybody

*

I can tap right in

*

I like the truth

*

I like the suggestion

*

I like to do it to myself

*

It's poetical here

*

It’s very hokey but wonderful

*

It's not for good or for bad

*

It’s not like it used to be

*

It’s jarring

*

It’s just terrific

*

It goes both ways

*

It’s a warm day in March

*

And I am in Philadelphia

*

Living in New York

*

With everybody else

*

I'm trying I can't go as fast I'm not sure what they'll think this is just a fake-out I'm just kidding psych

I'm not                                                                      

it's not for me

I'm just facing the music

I have a life       

grew up

was necessary

acted                        

I go to the john                                      

I want everyone to know this           

to pay my rent

listen,  I can take a hint

if there's anything

I can take my pride

*

ball park figure

troubles me

just so immediate

just by osmosis

most people think that

because it seems so public

an apt metaphor

an conflicting relationship

in a kind of American vernacular

few did that

take this point

squared it out

not very eloquent

crispness on the one hand

maximalizes the power

everyday words with new vitality

a very important locus of discussion

massive and even

well aware

beyond the issue

was not just appealing

a scheme a sound an idea

something like a movement

devil may

for somebody like me

in a way it’s not exactly straightforward

takes it away

salad bowl vision of America

people you feel are less well off

new ideas in theory

far out crazy

like many people

the discussion of the young house wife online

the flow of everyday

more along the lines

I’m just interested

it is my view

he would have thought

depends on what you mean

*

A lecture

Fragments from the 17th

Manifesto of Internet author of

Archive by Hermes Hermeneutic

Nude Formalism in My Ear 

Thank You – Regan 

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3:55

Sweet Nothing

Professor of Medicine University of Manitoba 804F-175 McDermot Avenue Winnipeg, Manitoba Canada

Publication de Pied Bot de Charles Bernstein, traduit par Martin Richet, éditions joca seria, mars 2012

Les éditions joca seria publient en mars 2012 Pied Bot de Charles Bernstein dans une traduction de Martin Richet, avec une postface de Jean-Marie Gleize et des photographies de Susan Bee.


Pied bot est un livre qui regroupe trois textes : l’important Shade publié en 1978, troisième livre de Charles Bernstein, et premier titre de la maison d’édition indépendante Sun and Moon qui, sous la direction de Douglas Messerli, a publié de nombreux livres de poésie expérimentale dans les années 80 et 90. A Shade le traducteur Martin Richet a joint The Occurrence of Tune, court texte publié comme petit livre en 1982 avec un texte de Charles Bernstein et des photos de l’artiste Susan Bee, son épouse.
Martin Richet a fait précéder le tout d’un bref texte intitulé « préface » qui sert de préface au recueil critique Content’s Dream: Essays 1975-1984. Cette préface n’est pas un texte critique mais un long poème en prose qui offre un autre mode de réflexion que le discours théorique. Idées et abstractions s’offrent ici à celui qui s’engage dans le champ poétique.


Un extrait: "La nuit tombe, une habitude ; quand les signaux ont tous l’air de plaisanteries et que la consistance est un éventail de soie. Disons que, contentieux, chacun devient le logicien de son argumentation, tour à tour une perle, tour à tour consterné. Ou l’amélioration – qu’on demande à la personne à-côté de mettre moins fort. La personne ? La personnalité est le produit d’un devenir social ; n’étant pas encore, elle prend d’autant plus vite corps. Et cette masse sous-jacente – comme si la chair rampait, aspirait – puisque chacune des idées qu’on s’en fait s’avère rétrospéculative. Mais ce sont ces conditions qui donnent à une vie sa valeur d’échange, comme le sucre et la cuiller. Guignol est déjà dans la gaine."


Pris dans son ensemble, Pied bot marque une étape importante dans l’histoire de la poésie américaine : il tire les avancées poétiques d’un John Ashbery et d’un Frank O’Hara, de ce qu’il est convenu d’appeler l’École de New York, vers une tension soutenue entre le concret et l’abstrait, il prolonge leurs disjonctions poétiques auxquelles il soumet le « je » (« La personne ? » interroge d’emblée la préface), une subjectivité qui apparaît problématique à l’orée des années 80 aux poètes du « mouvement » L=A=N=G=U=A=G=E. 
Pied bot se fait à cette occasion réflexion et pratique de la « difforme » poétique, afin de désarticuler ce qui semble « aller de soi ». 


On peut commander le livre en librairie ou bien directement sur le site des éditions joca seria.

Les étidions contrat maint avaient publié, en 2011, le poème Longues files de voiture revenant de la plage inclus dans le présent volume. 

Charles Bernstein est l’auteur de quarante livres: recueils de poèmes, essais, traductions et collaborations; dont My Way: Speeches and Poems (U. of Chicago Press, 1999), Girly Man (U. of Chicago Press, 2006), et récemment, All the Whiskey in Heaven (Farrar, Straus, and Giroux, 2010) ainsi que Attack of the Difficult Poems: Essays and Inventions (U. of Chicago Press, 2011). On lui doit aussi des livrets d’opéra dont Blind Witness (Factory School, 2008) et Shadowtime (Green Integer, 2005), traduit par Juliette Valéry (Temps d’ombre).

Charles Bernstein enseigne la littérature américaine et comparée à l’université de Pennsylvanie. Avec Bruce Andrews, il a dirigé la revue L=A=N=G=U=A=G=E de 1978 à 1981. Il est le co-fondateur de PENNsound (writing.upenn.edu/pennsound) et du  Electronic Poetry Center (epc.buffalo.edu) qu’il dirige.

En français ont déjà paru Un test de poésie, tr. collective (Un Bureau sur L’Atlantique, 1995), Asile, tr. Paol Keineg (Un Bureau sur L’Atlantique, 1998), et Longues files de voitures revenant de la plage, tr. Martin Richet (contrat maint, 2011).

March 22 & 23 Charles Bernstein at Université Paris-Est Créteil

On Thursday March 22nd and Friday March 23rd, we will be hosting a 2 day symposium on Charles Bernstein’s work at the Université Paris Est Créteil (on the 22nd, salle des thèses; on the 23rd, room 117 at the Maison des langues). How to get there? see here. (the Maison des langues is the new building on your left as you exit the metro see here and zoom)

We will be meeting in the morning of March 22nd at 10 am to prepare our sessions with Charles Bernstein. Charles Bernstein will be joining us at 2pm on March 22nd. He will also be with us on March 23rd.

So far, we’ve triedto focus on the writer’s own (creative and critical) work on the first day ofthe P&C symposia and on broader issues of poetics and practice-basedcriticism with the writer on the second day. But nothing’s set in stone and we will go where the conversations will take us.

We will focus on the following titles:

* Attack of the Difficult Poems (Chicago:University of Chicago Press, 2011)

* A Poetics (Cambridge: Harvard UniversityPress, 1992)

* Content's Dream: Essays 1975-1984 (LosAngeles: Sun & Moon Press, 1986; rpt Northwestern University Press, 2001)

And also : MyWay: Speeches and Poems (Chicago: University of Chicago Press, 1999)

and : All the Whiskey in Heaven (Farrar, Straus and Giroux, 2011)

But it should not stop us from looking at poems either. We are open to all readingsuggestions participants might want to send us.

Moreover, since Charles Bernstein was one of the founders of the Poetics Program at Buffalo in 1991, we will also discuss the specificity of this program. This program is of special interest for Poets and Critics since its principle is that poetics and writing should not be dissociated but set in dialogue. The text presenting the program states that "the English Department's Poetics Program takes as its principle that literary artists should teach not only the art of writing but also the theory of writing practice, in both undergraduate courses and graduate seminars"

There willbe a poetry reading on the evening of Thursday March 22nd at 7:30pm at galerie éof with CharlesBernstein, his translator French poet Martin Richet, Danish poet and critic Martin Glaz Serup and French poet and critic Jean-MarieGleize.