Abigail Child: Selected Films 1986–2006

Today we're highlighting a series of short films by poet and filmmaker Abigail Child. Our new page for Child's Selected Films 1986-2006 — edited by PennSound Contributing Editor, Danny Snelson — showcases four short films from throughout her past two decades of work.

The most recent film present here is 2006's Mirror World, a collaboration with Gary Sullivan, which reworks material from Mehboob Khan's Bollywood film, AAN into a fascinating twelve-minute short that layers soundtrack, dialogue and subtitles, manipulates framing and fractures narrative to critique both gender and social roles within Indian cinema while simultaneously celebrating its bright spectacle.

Next, we have three selections from Child's ongoing series, Is This What You Were Born For?: Perils (1986), Mayhem (1987) and Mercy (1989). Each organized around a central abstract notion, and embracing a jarring montage aesthetic (that's wonderfully complemented by scores featuring Christian Marclay, Charles Noyes and Zeena Parkins, among others), these films navigate a broad array of source materials to create mesmerizing meditations on our relationship to film and the ways in which the everyday and the extraordinary are reflected through the medium.

In addition to these videos, you'll want to check out the extensive archive of recordings on Child's main PennSound author page. A perennial favorite of the Segue Series, you'll find no less than six readings taking place between 1985 and 2008, split equally between the Ear Inn and the Bowery Poetry Club. There's also a 2000 appearance on PhillyTalks (which includes four poems) and a wonderful Close Listening reading and conversation with Charles Bernstein in 2007 (the former show, featuring writing from Solids, A Motive for Mayhem and Post Industrials, among others, is also segmented into six individual files). An audio-visual introduction to Child's work is only a click away.

St. Mark's Talks (1984-1986), Curated by Charles Bernstein

Today we revisit the St. Mark's Talks series, which was organized by Charles Bernstein at the Poetry Project from the fall of 1984 to the spring of 1986. The St. Mark's Talks series was an extension of the New York Talks series Bernstein curated and moderated during the first half of 1984.

In a Jacket2 commentary post announcing the new additions in 2012, Bernstein explains the origins of the series: "In 1985, Eileen Myles was the new director of the St. Mark's Poetry Project in New York. [They] asked me to curate a lecture series, the first such program at the church. I modeled the series at the Poetry Project on my earlier series New York Talk, giving it the amusing title, given the sometimes seeming resistance to poetics at the St. Mark's at the time, St. Mark's Talks. And talk it did." "I made these recordings myself," he continues, "and we are missing some of the talks, and in some case parts of the talk ... Here is what we got."

Altogether, PennSound has preserved all or part of fifteen events in the series, which follow the same general pattern of talk followed by discussion established during New York Talks. The series began with "Politics and Language," featuring Bruce Boone, P. Inman, Erica Hunt, and Jackson Mac Low, and continued with events including David Antin's "line music counterpoint disjunction and the measure of mind," Nathaniel Mackey's "Sound and Sentiment, Sound and Symbol," "The Tradition of Marginality," featuring Kathleen Fraser and Rachel Blau DuPlessis, Barbara Guest's "Mysteriously Speaking of the Mysterious Byzantine Proposals of the Poem," and Ron Silliman's "Postmodernism: Sign for a Struggle, the Struggle for the Sign." Other participants included Steve McCaffery, Lyn Hejinian, Anne Waldman, David Bromige, Nick Piombino, Lorenzo Thomas, and Bob Perelman, among others.

PoemTalk #203: on Callie Gardner's "Culture Warrior"

Today we released the newest episode in the PoemTalk Podcast series, which addresses a poem by the late Callie Gardner — "or rather two versions of a poem," as host Al Filreis tells us. For this program, Filreis was joined by a panel comprised of Laynie Browne, Julia Bloch, and Iain Morrison.

Filreis further explains the complex lineage of the poem(s) under discussion in his program notes on Jacket2: "One version, titled 'when will my love return from the culture war?,' is six quatrains long. A second, for which we have a recorded performance, is four quatrains; there's a variation on thinking about the second that invites us to call it a sonnet." He continues, "Callie added a version — organized in the quatrains — to their blog on May 1, 2020. On November 19, 2020, Callie read the shorter version of the poem as part of a live-streamed remote (lockdown-era) reading given by eight poets," and this is the source of the performance featured on the show.

You can listen to this latest program, read the texts discussed, and learn more about the show here. PoemTalk is a joint production of PennSound and the Poetry Foundation, aided by the generous support of Nathan and Elizabeth Leight. Browse the full PoemTalk archives, spanning more than two hundred episodes, by clicking here.

John Richetti Reads Clement Clarke Moore's "A Visit from St. Nicholas"

We start this week with one more beloved December tradition: our good friend John Richetti performing Clement Clarke Moore's poem, "A Visit from St. Nicholas," from his ever-growing anthology, "125 Favorite Poems, Good for Memorizing."

More frequently known by its opening phrase, "'Twas the night before Christmas ...," "A Visit from St. Nicholas" was first published in Troy, New York's Sentinel on this day in 1823 with no attribution. It became wildly popular, reprinted far and wide, and its author — a professor of literature and divinity at New York City's General Theological Seminary of the Episcopal Church, who initially sought to downplay his connection to the poem — would finally be credited in 1837, with Moore including it in a collection of his verse in 1844.

Click here to listen to Richetti's performance of the poem. You can read along on the Poetry Foundation's copy of the poem here. Many more recordings made by Richetti form the backbone of our PennSound Classics page, which is organized by author name. To start browsing, click here.

Spending Midwinter Day with Bernadette Mayer

At 4:19 EST this morning we officially made the transition from autumn into winter, and today will be the year's darkest day, with just over nine hours of sunlight. For many of us, this day inevitably brings bittersweet remembrances of the late Bernadette Mayer, whose beloved Midwinter Day celebrates the winter solstice in a wholly unique fashion. While not published until 1982, Mayer famously wrote the book — hailed by Alice Notley as "an epic poem about a daily routine ... sedate, mundane, yet marvelous" — in its entirety while marking the the winter solstice at 100 Main Street in Lennox, Massachusetts on December 22, 1978. 

Celebrating Mayer and Midwinter Day on this day is an annual PennSound tradition, dating back to 2014. As Megan Burns notes in her Jacket Magazine essay on the book: "A long held tradition on Midwinter's Day was to let the hearth fire burn all night, literally keeping a light alive through the longest night of winter as a source of both heat and a symbol of inspiration to come out the other side of the long night closer to spring and rebirth. It is fitting that a poem about surviving death and the intimacy of the family would be centered around this particular day that traditionally has focused on both. The hearth is the center of the home where the family gathers, where the food is cooked and where warmth is provided. Metaphorically, the poem Midwinter Day stands in for the hearth gathering the family into its folds, detailing the preparation of food and sleep and taking care of the family's memories and dreams."

Mayer read a lengthy excerpt from the book at a Segue Series reading at the Ear Inn on May 26th of the following year, which you can listen to on her PennSound author page along with a wide array of audio and video recordings from the late 1960s to the present. 

Henry Hills, 'Plagiarism,' 1981

Today we're revisiting an iconic film from Henry Hills that was recently re-uploaded to the site in a newly-remastered version. Filmed in 1981, Plagiarism features Hannah Weiner, Charles Bernstein, Bruce Andrews, and James Sherry reading from Weiner's notebooks that would eventually be published as Little Books/Indians (Roof Books, 1980). Hills offers these notes on the film:

Begins jokingly proclaiming, "I'll make my Ernie Gehr film," a major preoccupation of my generation in the late 70s/early 80s, & then this very raw other thing proceeds to unfold, raw because I only had enough money (a loan from Abby Child) to do 4 shoots never having done sync & using outdated film stock from Rafik & an unfamiliar, undependable camera & trying to keep everything together & everything going wrong, yet determined to make concrete the ideas I had been abstractly developing over several years with whatever I got back from the lab no matter & so abandoning all caution to open a new area, I decided who could possibly talk better than poets? Edited in Times Square.

Fans of Hill's Money (1985) will recognize many familiar techniques at play here, with rapid-fire cuts creating a dense, rhythmic collage of sights and sounds punctuated by pregnant pauses, bursts of noise, and enigmatic, orphaned fragments of speech. It would be a mistake to judge it solely in its relationship to Money, however, since the two films differ radically in scope and spirit: while the latter is an expansive survey of the city and its scenes (including poets, dancers, and musicians), the feel here is much more intimate, between the smaller cast and the more limited visual vocabulary. At the same time it's fascinating to see hallmarks of Hills' style in a raw early state, particularly given the influence of the considerable technical challenges that Hills enumerates above. You can watch Plagiarism by clicking here.

Congratulations to bill bissett, CM

Today we celebrate bill bissett, who was appointed as a Member of the Order of Canada by Her Excellency the Right Honourable Mary Simon, Governor General of Canada at a ceremony in Ottawa on December 12th. The citation summed up his achievements thusly:

A revered poet, painter and musician, bill bissett is a pre-eminent figure of the 1960s counterculture movement in Canada. His poetry collections, which combine sound and visual elements with printed works, are acclaimed for breaking down artificial barriers between the arts. He is also the esteemed co-founder of the Secret Handshake Gallery in Toronto’s Kensington Market, Canada’s first and only peer-support facility for people with schizophrenia.

On PennSound's bill bissett author page you'll find a fascinating assortment of recordings that span the breadth of bissett's career as well as depth of his talents. The most recent recordings include a brief home recording from 2021 and his set from a 2012 launch reading celebration of a new edition of his germinal collection, Rush: what fuckan theory; a study uv language. The earliest is a remarkable relic from 1967: an appearance by bissett and bpNichol on the CBC television program Extension, hosted by Phyllis Webb, during which they perform together and separately, and discuss their work and the contemporary Canadian poetry scene. In between, you'll find readings at the Bowery Poetry Club, the St. Mark's Poetry Project, and the Kootenay School of Writing, along with a 1978 radio appearance and the 1968 album Selections from Awake In The Red Desert. Click here to start exploring. 

'Poker Blues' (1991) by Les Levine and Ted Greenwald

Today we're highlighting Poker Blues a 1991 video collaboration by artist Les Levine and Ted Greenwald, and published by Museum of Mott Art, Inc. (the conceptual museum Levine founded in 1970).

A marvelous fugue constructed from the lexicon of card players, Poker Blues is filmed in a two-camera setup, alternating between perspectives so that Greenwald becomes his own interlocutor, while Levine remains faceless off-screen. The claustrophobic feel is underscored by quick edits and tight close-ups, along with the looped soundtrack of Diana Ross' "I Love You (Call Me)."

Over at Mimeo Mimeo, Kyle Schlesinger offers up a brief write-up of the film as well as the mimeographed book that resulted from it, noting that "according to Greenwald, the performance was improvised and later transcribed by Levine for the book (above) along with several stills from the film."

We've made video footage of the sixteen-minute film available, along with the isolated audio track. You can experience both by clicking here.

 

Happy Birthday Jerry Rothenberg

We follow up yesterday's birthday greetings by celebrating another legendary poet who a great many of us still miss dearly: Jerry Rothenberg, who would have turned 93 today.

Our PennSound author page for Rothenberg, collecting recordings from 1969 to the present, is a wonderful way to interact with the Rothenberg's considerable legacy. There's a comprehensive survey of his own diverse poetic modes, spread across numerous recordings, from album releases via S Press and Optic Nerve's Rockdrill series to myriad readings and even some of his musical collaborations. There are a number of recordings related to his editorial and translation projects, including launch readings celebrating several different volumes in the Poems for the Millennium series and milestone events for Technicians of the Sacred (both its 40th and 50th anniversaries). There are lectures, class recordings, and interviews with Rothenberg, as well as commentaries on his own work, including several PoemTalk episodes. With nearly 300 MP3s alone — counting individual tracks and complete recordings — not to mention videos, it's a fittingly encyclopedic tribute to Rothenberg's influence, as well as a useful resource for all sorts of classroom settings. Listeners will also enjoy Rothenberg's ongoing Jacket2 commentary series, "Poems and Poetics," which we were honored to host.

Pick any recording at random and you'll understand instantly why Rothenberg is so universally beloved: for someone who's published output might fill several shelves, he's truly at his best in a live environment. Having worked at PennSound for so long, I've been to a lot of poetry readings and have listened to many more beyond that, and for my money, there's no one as captivating, no voice as powerful, no poet who entertains as well as he moves us and teaches us. I cherish the three times I've seen Jerry read in person — at our own Kelly Writers House in 2008, at Xavier University here in Cincinnati in 2011, and at the University of Michigan in 2013 (all of which are available on PennSound) — and wish that I could have seen him read at least one more time.

You can read our PennSound Daily tribute to Rothenberg here, and Amish Trivedi's memories of working with Rothenberg here.

Happy Birthday Emily Dickinson

Today would have been the 193rd birthday of Emily Dickinson. For many years, a treasure trove of Dickinson materials was scattered throughout our site, but a few years ago we pulled together a proper PennSound author page for the poet, gathering selected resources from throughout our archives.

It should come as no surprise that Susan Howe would be prominent featured, and here you'll find complete talks on the poet from 1984 (from the New York Talk series) and 1990 (from SUNY-Buffalo) in addition to several smaller excerpts from larger talks pertaining to the poet. There's also a link to PoemTalk #32, which discusses Howe's interpretation of Dickinson's "My Life had stood - a Loaded Gun."

Full series of lectures on Dickinson are also available from Robert Duncan and Robert Creeley, both at the New College and dating from 1981 and 1985, respectively. Among other substantial contributions, there's also the 1979 Dickinson Birthday Celebration at the St. Mark's Poetry Project (featuring Jan Heller Levi, Charles Bernstein, Susan Leites, Charles Doria, Virginia Terrace, Barbara Guest, Madeleine Keller and Vicki Hudspith, Armand Schwerner, Karen Edwards, Jackson Mac Low, Maureen Owen, and Howe) and Rae Armantrout's 2000 presentation on Dickinson from "Nine Contemporary Poets Read Themselves Through Modernism."

You'll also find performances of individual Dickinson poems from John Richetti and Jeffery Robinson as well as brief excerpts of radio interviews — with John Ashbery, Guest, and Elizabeth Bishop — pertaining to the poet.

Our hope is that this page, which brings together disparate resources already available in our archives, will be a useful tool for teachers, students, and casual readers, as well as serious scholars. Click here to start exploring.

Purkinge, "Lollapalooza Soundtrack" (1994)

While Chris Funkhouser has been sending us tapes from his incredible archives from over a decade, they are more often than not recordings of other folks and not his own poetics and musical projects. Today we're taking a look at one such rare recording — a 1994 performance from the Lollapalooza festival's stop in Saratoga Springs, NY by Purkinge, a supergroup of sorts in which Funkhouser had taken part. Here's his description of the group's evolution and their triumphant appearance on the sidestage of the eclectic summer festival:

In 1992 made the unlikely move from Santa Cruz to Albany to pursue a Ph.D., partially because Katie Yates told me about a fascinating collaborative writing initiative Don Byrd spearheaded there. Too much technical & social back story to tell, but a performance group consisting of Sandy Baldwin, Belle Gironda, Eric Douglas, & I emerged named Purkinge (after brain fibers that conduct an electrical stimulus enabling the heart to contract in a coordinated fashion). Networked writing conducted across a series of computer terminals, sound, & stage were emphasized. We made hundreds of pages of poems, hours of multi-track recordings, played arts venues & theory conferences. Intent on re-defining expressive conventions, we weren't together to be popular or make money; we liked each other & did whatever we wanted given what we had ("being only possible because of gravity"). I was the only musician in the group, but our shows always featured soundtracks with everyone's input. 

We peaked in so many ways at the Saratoga Raceway stop of the 1994 Lollapalooza festival. People I knew were running a side stage, & various friends traveled show-to-show. I was invited to join & round up local talent. Purkinge worked on a set for a few weeks, mixing a 23 minute soundtrack combining ambient recordings, percussive segments, & language. We made several hundred 10 inch segments of dowels for the crowd. Voices on tape freed us from being bound to microphones, so we moved around a lot. We planned an interactive experience with the audience, & an almost unbelievable thing happened. Gorgeous afternoon: main-stage sets by the Breeders & Boredoms transpired under sunny skies. I wore a skirt, & a random party girl said, "I'm glad you're man enough to wear that." Shortly before Purkinge's show beneath a mini-circus tent on the infield, black clouds roll in & — simultaneous to thunder playing on our soundtrack — an intense thunderstorm hits. Suddenly five- or six-hundred people were in the tent, many of them hopped up, drumsticks in hand, performing. Boisterous & strident, beautiful within the larger event, we lashed folding metal chairs to ourselves, played & crashed into each other, setting a certain tone. As we finished, the rain stopped, then we danced with everyone else to George Clinton (P-Funk All Stars) & Beastie Boys in the mud.

Chris has done a wonderful production job here, creating a spacious mix that benefits those listening on headphones in particular, and leaving plenty of room for conversant dynamics to develop between noise, music and the sparring voices. You can hear this track, along with a wide array of readings, performances, interviews and lectures on PennSound's Chris Funkhouser author page.

In Memoriam: Jacques Roubaud (1932–2024)

We close out this week by remembering poet, novelist, mathematician, translator, and Oulipo member Jacques Roubaud, who passed away yesterday in Paris on his 92nd birthday.

In the introduction to her 2009 Bomb interview with the polymath author, Marcella Durand affirms that "Not many writers write from both the right and left brains, but Jacques Roubaud bridges that chasm much like an expert martial artist — in a way that makes it seem simple." "Or not," she continues: 

Roubaud is an encompassing author. He writes through a full spectrum of the "simple" (i.e. his poetry for children) to mind-bogglingly dense pieces underpinned by mathematical concepts incomprehensible to many left-brained creative folks. After all, the title for his first book was a mathematical symbol — graphic and discrete, yet to explain what it means would take more words than I have been allotted.

We're proud to be able to share two videos of Roubaud on his PennSound author page. The earlier of these is a 2012 "Lecture de Poète" filmed by François Sarhan in Paris, wherein Roubaud reads excerpts from his collection, La forme d'une ville change plus vite, hélas, que le coeur des humains: Cent cinquante poèmes, 1991-1998 (Éditions Gallimard, 1999). That's joined by a December 2019 celebration of the poet's then most recent book, Tridents (Éditions Nous, 2019), recorded at Paris' Librairie Texture. Éditions Nous publishers Benoît Casas and Patrizia Atzei were on hand to celebrate this latest book from their press, the sixth in total from Roubaud that they've published. This was also Roubaud's third time reading at the book store.

Both of these recordings can be found on our Jacques Roubaud author page. Click here to start watching.

Birds of Metal in Flight: An Evening of Poetry with 5+5, 2015

Here's another fascinating group reading from deep within the PennSound archives: "Birds of Metal in Flight: An Evening of Poetry with 5+5."

Recorded at the Cathedral Church of Saint John the Divine on February 25, 2015, this event — presented in partnership with the Weatherhead East Asia Institute at Columbia University — served as a farewell to Xu Bing's exhibit "Phoenix." Ten poets in total, five from China and five from the US, shared work written in response to Xu's artwork. The roster of readers for the evening consisted of Bei Dao, Ouyang Jianghe, Xi Chuan, Zhai Yongming, Zhou Zan, Charles Bernstein, Mei-Mei Berssenbrugge, Pierre Joris, Afaa Weaver, and Marilyn Nelson (the Cathedral's then-current Poet in Residence). Opening comments were made by The Very Reverend Dr. James A. Kowalski, Dean of the Cathedral, and by event organizer Professor Lydia H. Liu from Columbia University; Xu offered closing remarks.

You can watch video footage of the complete event, along with segmented MP3 audio of individual readers on the special page we've put together for this event. Promotional images for the reading can be found in this Jacket2 commentary post by Bernstein.

Lytle Shaw: "Olson's Archives: Fieldwork in New American Poetry"

Today we dip into our archives to revisit Lytle Shaw's 2008 lecture, "Olson's Archives: Fieldwork in New American Poetry," delivered at the Kelly Writers House as part of the Theorizing series. 

Delivered on October 22nd of that year, "Olson's Archives" would eventually appear as a chapter in Shaw's 2013 book, Fieldworks: From Place to Site in Postwar Poetics (here referenced under its working title, Field Authorities). In the essay Shaw examines "site-specific poetry and art as forms of experimental historiography and ethnography," tracing the shift from "a future-oriented poetics of place" (as seen in Williams and Olson) to a contemporaneously lived aesthetic (he cites Creeley, Baraka and Snyder as examples). In particular, Shaw is "interested in the way that poets who wanted to account for actual empirical places found themselves having to trespass beyond poetry proper to poach some of their authority from other disciplinary fields."

You'll find Shaw's lecture on his PennSound author page, alongside eight other recordings, starting with a 1999 reading at the St. Mark's Poetry Project. Other readings include a trio of Segue Series readings — two from the Bowery Poetry Club (in 2004 and 2009) and a 2014 set at Zinc Bar — plus a 2002 reading at The Kootenay School of Writing, a 2006 appearance on Cross-Cultural Poetics, and his contributions to a "Barbara Guest Praise Day" at the BPC during the same year. In addition, you'll want to be sure to check out the Line Reading Series, which Shaw curated at the Drawing Center in New York from 2000-2006.