Are you certain this article is inappropriate? Contact. In that first email, I shared my thoughts on Aleph: “It is a beautiful, audacious book, and its ‘elfin tefillin’ work a powerful magic.

The excerpts (ten out of thirty-six poems) and the poets’ later reflections on intention and process are presented below without any attempt at further clarification. But it also signifies in and of itself; it is part of who and what we are, how we write and what that means to us and to our readers, whoever they may be. google_ad_width = 160; Perhaps one has the image of two yeshiva buchers poring over an old tome, chanting and gesturing in the traditional style.

The reasons are often mysterious, numinous. Adapted by Pierre Joris from Y. Georges Kerhuel's French version, Translations by Andrew Schelling & Anne Waldman, Translated from Spanish by Anna Rosen Guercio, Translation from French by Clayton Eshleman & A. James Arnold with a Note on the Original by the Translators, Translation from Spanish by Donald Wellman, Translated from Spanish by Gustavo V. Segade & Elise Miller, Translation from Japanese by Jeffrey Angles, In celebration of the publication by SplitLevel Texts, Translated from Japanese by Jeffrey Angles, A first translation from French by Clayton Eshleman, Transcription & reconstruction by George Quasha, Transcreations from Russian by Jerome Rothenberg & Milos Sovak, In which poems & poetics come together (J.R.), Translated from Spanish by Jen Hofer, Christian Nager, and Brian Whitener, Translated from Yiddish by Faith Jones, Jennifer Kronovet, and Samuel Solomon, Translation from Spanish by Cole Heinowitz, The opening selection from a work in progress, 'Barbaric Vast & Wild: An Assemblage of Outside & Subterranean Poetry,' edited with John Bloomberg-Rissman, Translation from Arabic by Abdelfetah Chenni & Pierre Joris, With special reference to Zukofsky's 'Poem Beginning 'The'' and Likht’s 'Protsesiye dray' ['Procession Three'], Originally posted June 8, 2009 on the blogger version of Poems and Poetics, Translation from French by Wendy Parramore, Translation from French by A. James Arnold and Clayton Eshleman, 23 verses from Sousândrade's 'Wall Street Inferno', Translation from Spanish & commentary by Cole Heinowitz, Trans-compositions from Greek & commentary by George Economou, Translation by Jerome Rothenberg with commentary by Heriberto Yépez, For the 100th anniversary of Octavio Paz’s birth, Translation from Isthmus Zapotec by David Shook, Translation from Bhutanese by Keith Dowman and Sonam Paljor, Translation from Polish by Jerome Rothenberg & Arie Galles, Charles Bernstein's 'Our Americas: New Worlds Still in Progress' Revisited, Translated with commentaries by Pierre Joris & Nicole Peyrafitte, Eleven ‘games for eleanor’ (previously unpublished) with a republished note on David Antin, Oswald de Andrade, 'An Anthropophagite Manifesto,' May 1928, Francisca Juana, 'Of the Remedy Which They Use for What They Call 'Reconciliation'' (1617, Aztec), Raul Bopp, from 'Cobra Norato: Nheengatu on the Left Bank of the Amazon,' with notes by the translator, A reposting for Hiromi Ito, in celebration, Haroldo de Campos, three poems and an essay on poetry, Proem and Poem [Adam Kadmon], with endnotes, Emily Dickinson, 'A Letter to the Master,' lineated, Following an older 'Light Poem' by Jackson Mac Low, From Whitman, Sousandrade, Darío, and Emerson, An omnipoetics project and the role of translation, 'Sale of Souls,' A poem with an accompanying commentary, An exchange of emails with Jerome Rothenberg, 'A Poem Beginning with Two Lines by Likht' (in English and Yiddish), Writing and translating indigenous poetry in twenty-first century Mexico, In 'Beneath the Sleepless Tossing of the Planets: Selected Poems', From Roger Williams, 'A Key into the Language of America', Seven Poems from 'Härte' with a brief accounting by Maria G. Baker, 'A Voice in the Wilderness: Seance vs. Finkelstein was born in New York City in 1954. Nor does the idea of the chavrusa involve writing in the ordinary sense. * The index below is organized chronoloigally, starting with a post from May 20, 2012, when Poems and Poetics first appeared in Jacket2. But now I think there is a special quality to the poems — what I called, in an essay I wrote years ago, ‘pressing for the end.’ Which, as you know, Jews are not to do.

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