We could read the text like this: “Clogged | only with | Music, like | the Wheels of | Birds - [ turn MSS 90 degrees to the right] Afternoon and | the West and | the gorgeous | nothings | which | compose | the | sunset | keep [ pinned corner] their high | Appoint | ment”

Olson , Charles. “Projective Verse.” Collected Prose . Eds. Donald Allen and Benjamin Friedlander. Berkeley: University of California Press, 1997. What draws you to her work? And particularly her manuscripts? What’s it like to handle her manuscripts? To see her handwriting?Access-restricted-item true Addeddate 2022-10-24 06:01:21 Associated-names Werner, Marta L., 1964- transcriber; Bervin, Jen, transcriber Autocrop_version 0.0.14_books-20220331-0.2 Bookplateleaf 0002 Boxid IA40750502 Camera USB PTP Class Camera Collection_set printdisabled External-identifier Loved this publication, the juxtaposition of the original letters and how they looked was marvellous and interesting especially as a historian and (aspiring) palaeographer, though I imagine even non-historians find it fascinating. I dwell in Possibility –/A fairer House than Prose –” (J657, Fr466, M233). In a less optimistic perspective, they might also be seen as coffin builders.

Fifth, there’s the message it records and that flashes by us: a message about how day falls into night; a message about the moment when the world is overtaken by—engulfed in—birdsong. It’s a message—I’d call it a poem—about the instantaneous translation from one condition into another, an essentially ecstatic experience.From 1999-2012 I worked at The MacDowell Colony, the nation’s oldest artist colony, but I've also done time at an arts magazine, a library, an art museum, and a raptor rehabilitation center. In May of 2012 I left MacDowell to pursue writing, speaking, curating, and creative projects full-time. Passeurs de la littérature des États-Unis en France(1)/ L’héritage de Michel Foucault aux États-Unis Published by New Directions, the book has the large format of an art book and the different elements of its composition keep a fine balance between the visible and the legible, including for instance a “Visual index” classifying the envelopes according to their shapes. Poised on the limit between the two modes, Marta Werner’s transcripts of the facsimile manuscripts suggest how delicate their interactions can be, particularly by giving prominent visibility to the creases, folds and lines dividing the surfaces of the envelopes.

I like Jan Bevin and other artists finding permission in the fascicles and other of ED’s written fragments to make their creative work--that's always a plus. On the other hand, scholarship requires proof rather than mere assertion, no matter how authoritatively given. Marta Werner asserts that ED’s words and the material on which they are written create a meaningful engagement, design, etc., and that this material somehow reinforces, completes, extends, both the meaning and purpose of those inscriptions. That is the assertion that I question. Agamben , Giorgio. The End of the Poem . Translated by Daniel Heller-Roazen. Stanford: Stanford University Press, 1999.Lccn 2015047826 Ocr tesseract 5.2.0-1-gc42a Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.8212 Ocr_module_version 0.0.18 Ocr_parameters -l eng Old_pallet IA-NS-1200429 Openlibrary_edition I’ve spent almost 20 years helping thousands of successful artists of all disciplines and working to make the arts more accessible. (One friend likes to call me “the arts enabler.”) Poet and artist Jen Bervin understands this tension between past and present, as well as between text and object, better than most. Her own art practice beautifully explores this interplay. Her 2004 book of modified Shakespearean sonnets, Nets, is a classic in the world of erasure poetry, and strips the bard’s famous lines “bare to the nets,” chiseling away at the familiar sentences to reveal surprising new poems. Let’s start from the smallest particle of all, the syllable. It is the king and pin of versification, what rules and holds together the lines, the larger forms, of a poem. … It is by their syllables that words juxtapose in beauty, by these particles of sound as clearly as by the sense of the words which they compose. In any given instance, because there is a choice of words, the choice, if a man is in there, will be, spontaneously, the obedience of his ear to the syllables. … It would do no harm, as an act of correction to both prose and verse as now written, if both rime and meter, and, in the quantity words, both sense and sound, were less in the forefront of the mind than the syllable, if the syllable, that fine creature, were more allowed to lead the harmony on” (Olson 241, ellipses mine).

I’d love to. I tell this story in my essay “Itineraries of Escape,” and, I have to warn you, it sounds like a fairy tale from the archives! Conjunctions of the Literary and the Philosophical in Twentieth- and Twenty-First-Century American Writing Although the quote was perhaps not widely noticed until it was highlighted by the viral tweet, it appeared in academic publications as early as 1996. ‘… And Historians Thought They Were Just Friends’ But not for all of them, as shown by the recent print edition of the complete poems, the third to b (...) The manuscript doesn’t necessarily encourage a teleological reading, either. For me, at least, the manuscript promotes a reading that wanders—and wonders. It compels us to attend to the minutest and most unrepeatable gestures of writing—to writing losing its thread sometimes in liberated strokes, sometimes in scribbles and erasures. For me, anyway, the draft tends to disturb the very idea of the still, absolute text, revealing it as only one possible realization of a matrix that precedes and sometimes follows it. Its interest lies in the uniqueness of its itinerary and its awareness of contingency.Le buste di poesia sono dunque scritti sulle buste che, più che poesie, sono messaggi, annotazioni. If fame belonged to me, I could not escape her—if she did not, the longest day would pass me on the chase—and the approbation of my Dog, would forsake me—then—My Barefoot-Rank is better— Hi)stories of American Women: Writings and Re-writings / Call and Answer: Dialoguing the American West in France La busta postale è quella che contiene la lettera, è una sorta di scrigno, qualcosa che avviluppa, contiene, include qualche altra cosa. I wasn’t at all sure that the bound volume of these writings published by New Directions could capture this feeling—but I think it has. The design is simply splendid. I don’t know how they did it! I’ll always be deeply grateful to New Directions for their vision of the book.