1.
Erica Mena write about choosing only books published in small presses for her new Translation and Art class:
Teachers are in positions of power, too, because we can create a (sometimes minor) demand for certain kinds of texts, and use our assigned books to support independent presses who are more likely to publish works in translation, and works in translation that challenge the market-based norms for translation. So I decided, back in October, that I would only assign books that were published recently by small presses.
So smart this decision. Go here to see the list of incredible books she is teaching at Iowa.
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Need to read this book on Tim Dlugos.
From a review on Bookforum:
It might seem, on opening A Fast Life, that Tim Dlugos was born fully formed from the head of Frank O’Hara. Dlugos was undeniably an original, but his sophistication and finesse—acquired while he was still a student at La Salle College and immersing himself in the work of the New York School poets—showed from the very beginning, when he started writing at the age of twenty in 1970.
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Eliot Weinberger at the Quarterly Conversation talks about translation and wars and writing serial poem-essays hybrids:
Well, that statement was made twenty years ago, during the time of ethnic wars and before the rise of the unimaginable Internet. And, in American poetry, a time when the poets—with the exception of a few old hands like Rothenberg—had more or less stopped translating poetry. As I’ve written elsewhere, translation flourishes when there is a national inferiority complex or national embarrassment, and in the sense of the latter the Bush years saw a boom in translation. (Though shockingly not a boom in political poetry—another topic.) Intellectuals finally became sick of their American selves, and started wondering what other people were thinking.
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Counterpath in Denver seems like an awesome place. And awesome model for lit-art space.
And super cool Open Door series on the Harriet blog "showcasing performance, scholarship, and engagement outside the usual boundaries of slams, workshops, and book publications."
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Neo-benshi goodness.
Erica Mena write about choosing only books published in small presses for her new Translation and Art class:
Teachers are in positions of power, too, because we can create a (sometimes minor) demand for certain kinds of texts, and use our assigned books to support independent presses who are more likely to publish works in translation, and works in translation that challenge the market-based norms for translation. So I decided, back in October, that I would only assign books that were published recently by small presses.
So smart this decision. Go here to see the list of incredible books she is teaching at Iowa.
+++
Need to read this book on Tim Dlugos.
From a review on Bookforum:
It might seem, on opening A Fast Life, that Tim Dlugos was born fully formed from the head of Frank O’Hara. Dlugos was undeniably an original, but his sophistication and finesse—acquired while he was still a student at La Salle College and immersing himself in the work of the New York School poets—showed from the very beginning, when he started writing at the age of twenty in 1970.
+++
Eliot Weinberger at the Quarterly Conversation talks about translation and wars and writing serial poem-essays hybrids:
Well, that statement was made twenty years ago, during the time of ethnic wars and before the rise of the unimaginable Internet. And, in American poetry, a time when the poets—with the exception of a few old hands like Rothenberg—had more or less stopped translating poetry. As I’ve written elsewhere, translation flourishes when there is a national inferiority complex or national embarrassment, and in the sense of the latter the Bush years saw a boom in translation. (Though shockingly not a boom in political poetry—another topic.) Intellectuals finally became sick of their American selves, and started wondering what other people were thinking.
+++
Counterpath in Denver seems like an awesome place. And awesome model for lit-art space.
And super cool Open Door series on the Harriet blog "showcasing performance, scholarship, and engagement outside the usual boundaries of slams, workshops, and book publications."
+++
Neo-benshi goodness.