Scope and Contents This latest collection of essays, gathers some of Bernstein's most memorably irreverent work while addressing seriously and comprehensively the state of contemporary humanities, the teaching of unconventional forms, fresh approaches to translation, the histsory of language media, and the connections between poetry and visual art. Jay Sanders co-authored the chapter "Poetry Plastique: A Verbal Explosion in the Art Factory."Aptowicz on Amazon.com: "Charles Bernstein is a poet & poetry professor who may be best known by the younger generation of writers as the poet who hates National Poetry Month. His oft-blogged about essay, "Against National Poetry Month As Such" (which is included in "Attack of the Difficult Poems") makes the bold claim that National Poetry Month "is about making poetry safe for readers by promoting examples of the art at its most bland and its most morally 'positive' " and then smartly up-ends the NYTimes being listed as one of National Poetry Month's...

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The editor states that the 17 essays in this book are concerned with poetry readings, the sound of poetry and the visual performance of poetry. They "offer original and wide-ranging elucidations of how twentieth-century poetry has been practiced as a performance art." Johanna Drucker contributed a chapter titled "Visual Performances of the Poetic Text" in which she describes and illustrates several poems of early 20th century visual poetry movements including an in depth analysis of "Poesie de mots inconnus" by Iliazd, a book that is held by the Sackner Archive. A listing of audio resources and a bibliography are included. -- Source of annotation: Marvin or Ruth Sackner.

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According to text on the dust jacket, this book "examines some of the most interesting and experimental contemporary writers whose work forms a counterpoint to the mainstream writing of our time." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Charles Bernstein writes in the introductory essay that "Figuring the Word" is a wide-ranging collections of Drucker's essays in which she "presents herself as a visual artist, a literary writer, a scholar/historian, and an aesthetician. In all these areas, Drucker has made substantial contributions. But it is her synthesis of these fields that is her most extrardinary achievement." Chapters of collected essays in the book include Writing as Artifact, including a section on hypergraphy and Maurice Lemaitre; Visual Poetics; Artists' Books Past and Future; The Future of Writing; Personal Writing. In the section "The Interior Eye: Performing the Visual Text," Drucker traces visual poetry in the perfomance work of Massin & Ionesco's "The Bald Soprano," Tzara's "Boxe," Marinetti's "At Night," Iliazd "Lendentua as Beacon," and Gomringer's "Ping Pong" and other icons of visual poetry.In the section, "Iliazd and the Book as a Form of Art," Drucker discusses and/or illustrates the...

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Stored with Hannah Weiner material. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents On pages 245-253, Lazer analyzes the poetry of Jake Berry and mentions that the original manuscripts of Brambu Drezi are held by the Sackner Archive. Arch Llewellyn reviews this book on Amazon.com: "Lyric & Spirit presents a measured, thoughtful, even courtly case for the sophisticated interplay of musicality and form in the woollier manifestations of lyric since the Sixties. The book collects 12 years of essays, and in places the dating shows--apex of the M is still a hot topic, and the musical canon Lazer advances (Monk, Coltrane, Cage) is already pretty canonical. Lazer has a sharp, sympathetic eye for the poetic outliers of his generation, and the attention he brings to the poems he considers exemplify the kind of intent listening and open-minded "habitation" in the fractured, quickened musics of the post-Creeley lyric that the best contemporary work requires. A great book for anyone "on the fence" about the pleasures of experimental U.S. poetry, or curious to know why the...

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This anthology is mostly concerned with feminist issues. -- Source of annotation: Marvin or Ruth Sackner.

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This is an uncorrected proof copy of the book that consists of a collection of previous published essays and interviews with Bernstein. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition, subtitled "Text and/as Image and/as Design and/as Meaning," was an interdisciplinary exhibition of visual art, artists' books, graphic design, and visual poetry by artists who were examining the ways that texts and images produced meaning in contemporary society, specifically in the United States in the 1990s. In a detailed essay, the curator, Johanna Drucker writes, "In the late 20th century artists in all areas work with an awareness of the legacy of conceptual art's attention to language and idea, with pop art and postmodernism's interest in appropriating language and image from the realm of popular and consumer culture, and with the ongoing engagement of artists with a commitment to the traditions of innovative expression." The Sackner Archive lent twenty five works to this exhibition and are acknowledged in the curator's note. -- Source of annotation: Marvin or Ruth Sackner.

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Andrews states that this book is divided into three sections. "The first, POSITION, sets out an overall personal perspective in a sequence of summary statements on poetics, ending with efforts to drive the question of meaning into a trajectory of social embodiment, dialog, & resistance. The second, VERB, offers a parallel record of interviews & symposia responses on a clutch of related themes, with an eye toward recharting the 'socially possible' through language & (more) radical praxis. And the third, BODY, makes a mosaic out of pieces on a variety of postwar English-language poetries & matters up for grabs in reading (& thus personally reconvening & rewriting) them." -- Source of annotation: Marvin or Ruth Sackner.

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The material from this book includes 1133 e-mails from 67 writers. In the preface, Charles Bernstein writes that this book "provides a window onto an ongoing, highly articulate, intensely percolating poetics-in-the-making that is a fundamental feature of the most engaging and active poetry of our time." -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of lectures delivered at a Book Arts symposium held at the Minnesota Center for Book Arts. -- Source of annotation: Marvin or Ruth Sackner.

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This book is an anthology of the first three volumes of the magazine "L=A=N=G=U=A=G=E" that were published in 1978. It is stored with the original issues of "L=A=N=G=U=A=G=E." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This anthology deals with a critical analysis of the Objectivists poets, a designation that began with Louis Zukovsky in the 1930's.Paperbackbookshop: "Objectivist" writers, conjoined through a variety of personal, ideological, and literary-historical links, have, from the late 1920s to the present, attracted emulation and suspicion. Representing a nonsymbolist, postimagist poetics and characterized by a historical, realist, antimythological worldview, Objectivists have retained their outsider status. Despite such status, however, the formal, intellectual, ideological, and ethical concerns of the Objectivist nexus have increasingly influenced poetry and poetics in the United States.Thus, argue editors Rachel Blau DuPlessis and Peter Quartermain, the time has come for an anthology that unites essential works on Objectivist practices and presents Objectivist writing as an enlargement of the possibilities of poetry rather than as a determinable and definable literary movement. The...

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Internet: THE POLITICS OF POETIC FORM: POETRY AND PUBLIC POLICY is a series of essays from a discussion that occurred at the New School for Social Research in New York. The discussion mines the relationship between poetic composition and political expression. Poetry's relationship to public policy typically has a questionable margin of relation. Not only does this volume posit that poetry is a dynamic medium for the consideration of political ideas, it focuses on the ideological weight specific formal innovations bring to poetry. Some of the writers include Jerome Rothenberg, Ron Silliman, Susan Howe, Nathaniel Mackey and Charles Bernstein. -- Source of annotation: Marvin or Ruth Sackner.

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Nancy Perloff writes about "Sound Poetry and the Musical Avant Garde." Antonio Sergio Bessa contributes an essay "Sound as Subject: Augusto de Campos's Poetamenos." -- Source of annotation: Marvin or Ruth Sackner.