Tag Archives: Poets
two countries of same colors
and over years
the burden of sketched borders
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A preview from The Alphabets of Latin America: A Carnival of Poems by Abhay K. (Bloomsbury, 138 pages, ISBN 9789389867909, Paperback)
The Alphabets of Latin America is collection of poems by poet-diplomat Abhay K. written during his travels across Latin America between 2016-2019. Organized alphabetically from A-Z,it takes you on a roller coaster ride to one of the most culturally and geographically fascinating continents known for its legendary Maya and Inca civilizations, sizzling Samba and Tango, the world’s biggest carnivals, labyrinths of Borges, magic realism of Gabriel Garcia Marquez, great poetry of Ruben Dario, Pablo Neruda , Gabriela Mistral, Cesare Vallejo, Octavio Paz, fascinating art of Frida Kahlo and Fernando Botero, among others.Read more
By Runa Bandyopadhyay
What is a poem? “A poem is a constant transformation of itself and every poem is a model of a possible world that only comes into being when reading is active, activated,” will be Charles’s answer. What is the relation between poetry and poetics? “Poetics is an extension of the practise of poetry, and poetry is an extension of thinking with the poems and also the reflection of poetics,” will be his answer. Bernstein doesn’t believe in any conventional poeticism, but his own Pataquericalism, as he explains in this interview, taken during the creation of the anthology, Bridgeable Lines: an Anthology of Borderless World Poetry in Bengali with American poets.
Charles Bernstein’s poetic idea is similar to the “Notun Kobita (New Poetry)” movement of Bengal, which was started in the ’70s by a group of Kaurab poets – Barin Ghosal, Swadesh Sen, Kamal Chakraborty, etc. in Bengal.
Charles Bernstein lives in Brooklyn, New York and is the Donald T. Regan professor of English and comparative literature at the University of Pennsylvania, as well as co-editor of L=A=N=G=U=A=G=E (1978-1981), the Electronic Poetry Center and PennSound and co-founder of SUNY- Buffalo poetics program. He was awarded both the Janus Pannonius Grand Prize for Poetry and the Muenster International Poetry Prize. Bernstein is the author of Pitch of Poetry (University of Chicago, 2016) and Recalculating (Chicago, 2013), among many other books. In 2010, Farrar, Straus & Giroux published All the Whiskey in Heaven: Selected Poems. More information at writing.upenn.edu/authors/bernstein
Runa Bandyopadhyay: Tell us something about how you started your journey in poetry.
Charles Bernstein: The journey never started and so doesn’t end. It feels like it is an active presence. A river of words flowing through me, which I tap into, or perhaps which taps into me (which traps me).
Runa: Is there a relation between the poetic language and the body language of the word? Is a poetic idea revealed in the physical body of the poem?
Charles: Yes. Yes. I am interested in the body of the poem. This is not “material” body but as Blake says, “Spiritual Body”. That is to say, the poem is symbolic space, an imaginary space, where the value lies in not “representing” the world but exploring the “real” in and as language.
Runa: Poetry is form, or process, or [de-]construction or idol-making –– which one of these is closer to your way of writing and why?
Charles: I am interested in intensifying metonymy and iconicity. Not fragments but constellations of particulars. Not de-construction but re-constructions as a process without endpoint. In the Jewish tradition there is a prohibition of “graven images,” which is to say, images of idols. In my secular mutation of this idea, I would say –– in place of images are actions and processes that allow the readers/listeners a space to project their phantasies/desires/anxieties. But I do this not by minimalism or abstraction but by rhythm and association.
Runa: Poetry requires space, where the reader participates in the poem while at the same time remains outside it. What is your opinion on this dichotomy?
Charles: It’s possible to try to break down the divide between viewer/viewed, that is break down the voyeurism by eliding word and object. Gertrude Stein’s Tender Buttons is a key work in this respect, part of a “dialogic” space opened up also (in American poetry) by Mina Loy, William Carlos Williams, and H.D. and also such second-wave modernists as Louis Zukofsky and Charles Reznikoff. I explore this issue in Artifice of Absorption (http://writing.upenn.edu/epc/authors/bernstein/books/artifice/), in particular the possibility for rhythmic oscillation between inside/outside.
Runa: Is poetry a search for “reality” and existence, or a search for mystery? Or none of those? Then what is it?
Charles: Poetry isn’t one thing, even for an individual poet. “Reality” is perhaps always at issue, but whose reality, what aspect of the real? I don’t accept the “realities” imposed upon me by family, state, literary history, and convention; but then I can’t fully reject them either. In poems, I explore these “controlling interests,” to use the title of an early book.
Runa: Is Poetry more than resonance of ideas in the mind? If so, if more, what is it? Is poetry to be understood?
On Thursday Palestinian poet and photographer Dareen Tatour was convicted by an Israeli court of incitement to violence and support for a terror organization, ending a years-long legal battle that began with Tatour posting a poem on Facebook entitled “Resist, my people, resist them.”
First arrested in October of 2015, Tatour was one of the earliest targets of Israel’s cybercrime unit, and its controversial predictive policing strategy of scanning social media posts for language perceived to be a threat against the state. In the years since, a rapidly increasing number of Palestinians–many of them teenagers–have been arrested over statements made online, often for little more than using the word “martyr” on Facebook.
In Tatour’s case, she spent much of the past three years on house arrest, as Israeli prosecutors argued that her calls to “resist the settlers’ robbery” and “not succumb to the ‘peaceful solution’” amounted to a violent threat against the state. That position has been condemned by free speech advocates like PEN International, and by over 300 writers, including Alice Walker, Claudia Rankine, and Naomi Klein, in an online petition circulated by Jewish Voice for Peace (JVP).
While prohibited from accessing the internet or using a cell phone, Tatour has maintained a line to the outside world through letters and her poetry. “Despite all this I have continued to write and I have touched the meaning of freedom,” she wrote, days before the verdict, in a letter addressed to JVP members. “Ideas have wings that no one can bind . . . My words have been able to cross distances and traverse borders until they reached to you.”
Ever eavesdropped on two poets having a conversation at a coffee shop? Iranian-American poet Kaveh Akbar has created an online space that lets you do that without leaving your bed.
Akbar runs DiveDapper, which focuses on interviews with major voices in contemporary poetry. It’s packed with profiles of writers like Morgan Parker, Ocean Vuong, Wendy Xu, and Max Ritvo — to name just a few. Every other Monday, he posts a new interview transcript.
The site grew out of Akbar’s own life in poetry, and his struggles with addiction. “The oldest recognizable poem in my book ranges back to when I got sober,” Akbar says; his debut collection, Calling a Wolf a Wolf, came out this past September. “I suddenly had 16 hours a day to fill with something new. My entire life up to that point was predicated on the pursuit of this or that narcotic experience. When that was uplifted, I had to find something else.”
Writing became his path out of that old life. “I was so hungry to be having conversations about the poetry that was exciting me, so starved for that sort of dialogue” as he worked towards an MFA and split 60 hours a week between different jobs all while beginning his recovery. “DiveDapper became a way for me to manufacture those dialogues directly with the sources.”
When Akbar started out, he says, he was worried that if he cold-called someone like the Pulitzer Prize-winning poet Sharon Olds, she’d be rightfully confused. Now, DiveDapper has become the way Akbar approaches great poets — but what he didn’t expect was that the interviews would turn into real, substantial friendships.
Since 2008, the Almost Island Dialogues have offered a literary gathering that offers what expansive literary festivals cannot – intimacy and a meaningful exchange of ideas through the lens of literature. At this year’s conclave in New Delhi (December 15-17), they will celebrate a decade of the Dialogues, with writers like the Chinese poet Bei Dao, the Arabic poet Mohammed Bennis, the Argentinian novelist Sergio Chejfec, and, from India, Arvind Krishna Mehrotra, Allan Sealy, and Joy Goswami. Almost Island also publishes an online literary magazine as well as a small number of books. Sharmistha Mohanty, founder-editor of Almost Island, spoke to Scroll.in. Excerpts from the interview:
You’ve mentioned in previous interviews that keeping the Dialogues small and intimate is important to you. What would you say intimacy achieves in the literary space?
It is very difficult to have any meaningful discussion in a setting where there are hundreds of people and writers must speak as part of a panel for ten minutes on a very deep subject. This is what the big litfests have done.
Unlike a literary festival, which concentrates on a product, be it a book or a reading or a performance, Almost Island is concerned with process, with how things are learnt, explored, created, and created again. It is concerned with the unravelling of things, in a stretched time, in being within the labour of literature, and not in the end product of its presentation. Literature is not a performing art and it requires a certain degree of quietness and closeness for things to unfold, for writers to speak genuinely and slowly about their work and their lives. Intimacy and small gatherings allow that. I have seen it work repeatedly at our Dialogues. In our India-China dialogues our Chinese writer friends spoke with candour about everything – a father who commits suicide because he is pursued by the Party, how and why some of them were exiled – because trust could be established in the closeness of our meetings.
The Dialogues complete a decade this year. How would you say they have evolved over the last ten years?
I would say that there has been a kind of lateral growth, a fullness that has been achieved with these meetings. Not a linear evolution. The fullness is in the wide register of voices we’ve had, in poetry and prose, and from many different parts of the world. What connects them is that they enlarge – through the innovativeness of their work – the spaces of prose and poetry. The wide register is rigorous and not merely there for the sake of diversity.
That said, I have been thinking of new ways to have these meetings. There may be other ways that I haven’t discovered yet. Ten years is a good watershed and I intend to give some time to thinking about that in the next year.
Poetry is language at its most distilled and most powerful – Rita Frances Dove
Poetry is to literature what soul is to the body. The rhythmic verses swell with the deepest emotions of the poet and settle in the heart of the readers. Belonging to the rich history of Indian literature, these poets bring alive the magic of poetry every time we revisit their oeuvre. Even though the new avatar of short poetry forms has become the most favoured style, the magic of literary verses woven by these authors will never fade away. On World Poetry Day, read poems by these 10 authors and revisit the surrealism created by their magical words. Read more
Source: The Times of India