Contemporary Poetry

Chinese writing occupies a privileged position in current academic discussions of world literature. While China as defined within world literature serves as a test-case for questions of nativist and universalist values, in the process it finds itself defined as a nation par excellence. Arguing that such definition constitutes a kind of twenty-first century
chinoiserie, I proceed to question the place of China in the literary theories that inform the discussions of world literature, pinpointing part of this chinoiserie on confusion about the role and performance of translation. I then offer a tactical approach to how China and Chinese literature can be re-translated and re-theorized, pointing a way forward from its current confinement within the chinoiserie described.

"The Airy Tomb" is the longest poem from R. S. Thomas's first collection of verse The Stones of the Field (1946). It is a story of a lonely life of Twm, one of the many Welsh farmers who appear in Thomas's early work. The poem describes two very different approaches to the mystery of death. The first relates to death as it displays itself in nature. Since Twm is instinctively well attuned to its rhythms, he finds this kind of death normal, a natural conclusion to every individual existence. The other kind of death which he saw both his parents succumb to is death and interment as they occur within the context of a given culture, which dismays Twm by its unlikeness to the first type of death. The rite of burial in the ground is particularly disturbing for him. The main focus of this article is to compare and contrast these two stances and tease out their philosophical ramifications.

In recent years, Black poets and other poets of color have increasingly won many of the most prestigious prizes and awards within the majority and historically white field of US poetry. This article traces the interventions (writing, activism, and institution building) that have resulted in this "change." Rather than understanding the racial politics of poetry as an endlessly revolving door of scandals, or simply as a contest over prizes and economies of prestige, this article attends to the relationship between the world of poetry and the history of social movements, an exchange often mediated through the work of writers’ collectives. In particular, this article delineates how the interventions of Black poets and other poets of color (both individually and collectively) have shifted the world of poetry, while at the same time mirroring, connecting with, and speaking back to broader movements that seek to transform the world writ large.

O presente trabalho tem como proposta a análise dos escritos críticos de Paulo Leminski. Os principais objetos de estudo são os ensaios reunidos nos livros Ensaios e anseios crípticos, edição de 1997 e ainda a edição de 2011. Há também o desenvolvimento de uma contextualização poética de Paulo Leminski, suas relações com as correntes estéticas brasileiras, desde o modernismo até a poesia marginal da década de 70, passando pelo concretismo até outros poetas como Waly Salomão e Ana Cristina César. Abordagem da faceta anticrítica de sua produção via conceito de Augusto de Campos: criação, crítica e tradução/transcriação como tarefa indissociável. O trabalho tem como considerações finais uma aproximação de Leminski com a ideia de phármakon, conceito discutido por Jacques Derrida em A Farmácia de Platão.

La poesia, nata per trasmettere informazioni del sapere non genetico in una comunità orale, è l'unica arte che perde il suo medium originario: la voce. Questa tesi indaga il processo che, in Italia, porta a interessarsi nuovamente agli aspetti orali della poesia e alla ridefinizione della stessa, nonché al ruolo del poeta e al suo rapporto con il pubblico. Tale trasformazione è avvenuta a partire dalla fine degli anni Sessanta quando, caduti i pilastri della società borghese, ci si rende conto che la poesia non può cambiare la società e il poeta perde il mandato sociale. La fine della neoavanguardia e del Gruppo63 segna un momento di vuoto culturale in cui non vi sono più idee e tendenze comuni. In questo clima, nel 1975, l'antologia Il pubblico della poesia tenta una “ricognizione del vuoto” e, per creare uno spazio e un mercato ai poeti, si organizzano serate in una famosa cantina romana, il Beat72: il poeta rinasce nel ruolo di performer. Si sente pero' la necessità di coinvolgere un pubblico maggiore: nel 1979 prende vita il Primo Festival Internazionale dei poeti. Finalmente la poesia esce dalla pagina stampata e termina la separazione tra poeta e spettatore, che sale anch'egli sul palco. Alcuni autori iniziano a sperimentare vocalità e oralità: sono, per esempio, Vicinelli, Spatola, Fontana, Costa, ed esterno all'ambiente letterario, Stratos. Queste personalità fanno riferimento alla poesia vocale, sonora, al lettrismo, ai poeti Beat. Per gli studi teorici sull'oralità si sono presi in considerazione: Zumthor, Ong, Havelock, McLuhan. In seguito si è fatta una distinzione tra oralità primaria, secondaria e terziaria, con De Kerhove. Si è giunti così a prendere in esame alcune forme orali  degli anni Duemila: il poetry slam, portato in Italia da Lello Voce (si veda intervista in appendice), la poesia performativa e il web, con l'esempio del blog “Nazione Indiana”, che permette di proseguire il percorso sull'oralità in un contesto multimediale. 
(Qui presente solo indice e introduzione)

Paru aux é ditions Delarbre : http://www.marie-delarbre.fr/grignan.html - http://www.lelitteraire.com/?p=25909
« Je dois avoir un ancêtre qui s’appelle Rousseau, j’ai voulu relire Les Rêveries d’un promeneur solitaire, livre admirable mais dans lequel, au fond, Rousseau parle beaucoup de lui et très peu de la nature » déclarait Philippe Jaccottet en 1997. Malgré l’enracinement commun de leur écriture poétique et journalière au cœur de paysages naturels, la proportion des parts accordées au moi et à la nature les distingue très clairement. Le lecteur de Jaccottet le sait bien : le poète parle en ses recueils bien plus de la nature qu’il ne parle de lui-même, et aspire plus à faire parler la nature qu’il ne tente de parler lui-même. Sources, ruisseaux, rivières, montagnes, cerisiers, églantiers, cognassiers, pommiers, fleurs, cailloux, chats-huant, criquets, rossignols… la poésie de Jaccottet abrite un microcosme bruissant et animé, une nature loquace face à laquelle le « je » semble parfois demeurer taciturne ; l’élection qui l’attache à Grignan en 1953 fera de ces paysages qui s’offrent alors à lui le combustible essentiel à son écriture comme à sa vie poétique ; source d’inspiration, terre riche de fragments d’un âge d’or perdu, le paysage permet ainsi au poète d’éprouver son écriture par ses tentatives de (re)présentations, et son contact quotidien lui permet surtout de « vivre de telle manière que l’écrit naisse naturellement » (La Semaison) ; le paysage de Grignan, à la façon d’un attrape-rêve, filtrerait ainsi l’angoisse qui noue la gorge du poète pour lui permettre de s’abreuver enfin librement à la source de la Présence et de la vie. © Marie Delarbre Éditions Dépôt légal : octobre 2016 ISBN : 978-2-913351-33-2 ISSN collection : 1635-6373

This is the entire book.

"Why Are Our Pictures Puzzles?" is an attempt to understand why scholars have begun writing at such tremendous length on individual pictures. Before the 20th c., one of the longest texts on a single painting was Vasari's description of Leonardo's "Last Supper." In the last forty years it has become common for historians to write entire books on individual artworks.

Why have we started experiencing images as so complex? Why do they seem to us like puzzles, waiting to be solved? Why doesn't it concern us that previous generations did not think of writing at such length?

This book also has a couple of chapters on what I consider to be psychotic behavior about images: compulsive sighting of supposedly hidden images, and a crazy art historical book about a painting written by Dalí. So I have tagged the book with psychoanalytic terms.

The book itself is still in print and in copyright, but I found a full pdf of this on the internet (for example on scribd), so I decided to post it on here on academia.edu, where at least it can have the correct context and links.

Exile (to echo Edmond Jabès) is a fundamental condition of poetry.These 50 poets make diaspora home ground. They are the lightning rods of a non-national poetry of “between” that pushes against nativism through sheer aesthetic exuberance and necessity of innovation.    – Charles Bernstein

Women : Poetry : Migration is a superb, refreshing anthology. As nationalism and the rigidity of territorial and linguistic boundaries, under challenge, erode, this anthology of poetry by women provides a wide-ranging and innovative look at this migratory time in the writing of poetry. Migratory in terms of place and the changing nature of location, undergoing challenge and redefinition in terms of gender identity, and in transit as a polylingual consciousness and multilingual ways of writing become more and more evident. My congratulations to the editor for her vision, imagination, and persistence, and to the women who have contributed such remarkable writing to the anthology.    – Hank Lazer

Jane Joritz-Nakagawa has undertaken a remarkable editorial task in bringing together avant-garde women poets who are also migrants. If, as Susan Suleiman wrote, the avant-garde woman poet is doubly marginalised, then these poets are in a triple lock of marginalisation. Yet, as the anthology demonstrates, this can be a source of strength and transformation, which gives them a centrality, not only in their own lives, but in the cultural development of their adopted country. Indeed, some of these poets have played a crucial role in shaking up mainstream poetics.    – Frances Presley


“On google earth I write down my name,” writes Ania Walwicz in this ecstatic anthology, Women : Poetry : Migration. With sharp eye and ear, Jane Joritz-Nakagawa has gathered arresting, often experimental, poetry by women living outside the lands of their birth. These are poems where the “trans” – translation; transculture; transformation – inhabits the unsettling language of identity and location, with multiplicity, cosmopolitanism and the “push and pull” (Bella Li) of writing desire. Every page offers shifts of imagery or perspective as witness to embodiment, alterity, and hybridities of language. In the plural worlds of the poets, we hear how border crossing constructs a life (Fawzia Afzal-Khan) and “utopianism” always “goes wrong” (Donna Stonecipher).    – Anne Elvey

“Where am I going? I am getting there.” Amanda Ngoho Reavey’s words might serve as a motto for this wide-ranging, transnational anthology, which gathers 50 women poets who live in countries other than the ones in which they were born. This premise is the spark for an explosion of aesthetic experimentation that both maps and crosses boundaries of gender and nation. From the shuttling between Japan and Canada, Vietnam and Australia, or Zimbabwe and the United States, the authors gathered here elucidate a poetics formed in process.    – Timothy Yu

My response to this collection is subjective, as I was once someone who lived and wrote for a while outside of my native land. In Women : Poetry : Migration, I could relive the excitement of pleasurable dislocation I felt some of the time I lived abroad. For instance, I liked experimenting or “deconsecrating” one language with another language to “make it clearer” (Jody Pou) and discovering through writing “what I don’t know” (Tsitsi Jaji). That said, this collection is open to any reader who is engaged by thoughtful, sensual, humorous and political ideas. In her essay in this anthology, Rosemarie Waldrop concludes, “If the poem works . . . it will set off vibrations in the reader, an experience with language – with the way it defines us as human beings.” I certainly felt the reverberation of language(s) as I read the poems and essays in this collection. It’s up to us as readers what we do next.    – Deborah Richards

This anthology edited by Jane Joritz-Nakagawa is more than a poetic fact. It is a political fact because it presents to the public poets displaced from their countries and in conflict with their cultures. Perhaps this is the definition of poetry: art in conflict with languages and origins. Jane Joritz-Nakagawa offers to the reader double exiles: the exile of the tongue and the full "exile" of the female voice in patriarchal societies. Joritz-Nakagawa, in the words of the Brazilian modernist poet Oswald de Andrade, reinstitutes the "matriarchy of Pindorama." It is a work of breadth and rigor, which deserves attention and applause. As contributor Safaa Fathy states: “I write about what I lost.” Migrating is at the center of being a poet; this anthology also answers the question of what poetry is. And maybe this is what we ultimately gain from Joritz-Nakagawa’s anthology.    – Régis Bonvicino

This article discusses John Wilkinson's volume Down to Earth (2008), and in particular the use of the trope of sacrifice in that book's examination of the violence inherent in capitalism. Making a comparison with Wilkinson's Proud Flesh (1986), it suggests that Wilkinson has maintained a consistent interest in the relation of repressed intimacy between the subject and its objects, both psychic symbols and the commodity form. This article analyses the relation between subject and object in each poem, focusing particularly on their accounts of the fragmentation of the self, the perceptions and pleasures of infancy, the exploitation of the worker by the consumer, and the unknowability of the other. It distinguishes Wilkinson's parodic account from the radical potentiality which Bataille finds in sacrifice, and considers how Marxist perspectives (including the writings of Adorno and Horkheimer) as well as psychoanalytic ones (Lacan, object relations theory, and Anzieu) inform Wilkinson's representation of the object world.

Cartas Persas aos Trópicos.
Envio abaixo link para download e consulta gratuita  do meu livro Cartas Persas aos Trópicos, sobre Renascimento do Oriente Médio no qual  exponho minha troca de correspondência por dois anos entre 2003 e 2005 com uma jovem iraniana feminista enquanto trocávamos nossas experiências culturais através da Poesia  Sufi  Persa e do Modernismo Lusófono através de nossos maiores poetas mostrando que a Literatura, a Poesia e a Cultura são linguagens que permitem qualquer intercâmbio de ideias por mais diferentes que sejam nossas sociedades  . Espero que gostem.

Preface

A cat answers a poignant call, leaps over the boundary, comes up the stairs and rummages through the library and the racks and hides in the bag. Hung on the wall like a spider, a muddled mind not dead, sometimes hungry, at times a wooden flower and not knowing the real from the ideal, the loner envies the lover of his games. He paints the world in new hues, adds music to many songs and sets the loner’s groaning heart right. He uses his hypnotic charm to restore youth to a stifled life. He has come like rain where the sun rules. He is lofty above the crowd and he gingerly lifts a retired bird on his wind. As love flows sometimes in fairy tales of emotions, you wish you could offer more caresses to a flower but indeed, you take flight in poetic expressions.
Nothing surpasses passion except compassion. If someone tugs at your sleeve and suggests a whirlwind romance what will you do? If you give in to passion, your conscience pricks; if you do not give in, the whole world pricks. I have tried to give expression to a cultural chasm that becomes apparent to one at middle age and only after the best things offered to one have disappeared due to a lag.
When with time life begins to show signs of crumbling, you groan in pain. I have captured the sound of those groans in numerous images. It becomes more hysterical when something emerges from the unknown zones of your heart and tries to conquer time, restrain decay and forces you to push hard against accepted cultural ties. It requires a lofty ideal to deal ideally with a cultural hole. In the following poems one can read the heart’s dilemma at such an interruption. If read in the given sequence, the poems form a storyline.
If Lofty touches you passionately, it would mean that you have not been swallowed up by the chasm.

List of contents:
Lofty Above The Crowd
A Muddled Mind
Rain
Hero Honda
The Atlas
Me On The Wall
Pity
Goals
Over The Boundary
A Cat
Lover
On The Rack
I Wish
Fairy Tales
I Am Not Dead
Hoax
Answering Call
It Has Never Been As Before
False
Games
Panther Passion
The Bag
Another Possibility
Hungry Rhymes
We Shall Talk
Emotions
Sometimes
The Spider On The Wall
Those Stairs
Tug at My Sleeve
A Wooden Flower
Reality
Vegetable Passion
The Fall
The Flight
Forces
In Disguise
The Cobra
I Was Drunk
Caresses
Edging Forward
A Loner
The Naughty Streak

Brenda Hillman’s 2018 collection, ​Extra Hidden Life Among the Days​, is rich with many
lives—bacterial, human, arboreal, fungal. A multi-media, mycelial entanglement of elegies, personal photographs, and journal meditations, Hillman’s linguistic materials take the viewer from her family’s home in Tucson to the White House Lawn, weaving contemporary political struggles into her own observations of human-nature relationships, as well as the agency of forests and lichen. How might one describe Hillman’s work? To simply call it ‘ecopoetics’ does not do her experimental storytelling justice. Rather, we might better understand Hillman’s reconfiguration of Romantic, timeless environmental writing into a timely, expansive bio-cultural ecology as ‘political-pastoral,’ a type of poetic writing that embraces humanity’s impact on landscapes, that imbues the natural world with political symbolism.

Do bodies create a city? Do minds create a city? How does movement shape geography? How does fragility alter architecture? This ekphrastic piece was created inside a structured movement improvisation. I invented a city, in the tradition of Italo Calvino, to contain the work influenced by my dance partner, who was experiencing extreme mind states of psychosis, and my own experiences with bipolar disorder.

A obra de arte é sempre um diálogo entre autor e sociedade. Neste sentido, as transformações nas relações sociais refletem na arte, transformando a estrutura interna da obra e orientando os sentidos que dela emanam. Nesta perspectiva, este artigo pretende analisar o poema O mito de Carlos Drummond de Andrade enquanto obra poética que humaniza a figura poética da musa, que perpassa a tradição da poesia ocidental, transpondo-a do Panteão dos deuses e dos mitos para um plano social, encarnando-a em mulher real, susceptível às circunstâncias sociais, pessoais e históricas de seu tempo.

Abstract: The article examines diasporic dilemma in the poetry of Fleur Adcock, an internationally acclaimed poet of New Zealand origin. Based on representative texts from her Poems 1960–2000 (2000), the article examines the postcolonial fear of losing one’s original culture and the process of coming to terms with the isolation that Adcock’s relocation to Britain caused. The theme of diaspora in Adcock’s work is discussed in the context of the poet’s exclusion from both New Zealand
and British culture. She describes the panic of not belonging to one’s native community and the ambivalent reception in the adopted country. Adcock’s poetry provides images of displacement – both mental and geographical – resulting in a quest for identity that may not easily be completed. The article analyzes Adcock’s Europeanized view of her native New Zealand as Adcock’s poetry is the artistic result of two-way cultural traffic between New Zealand and Britain.
Keywords: Fleur Adcock; New Zealand; United Kingdom; Britain, poetry; diaspora; postcolonial
literature; feminism; colonization in reverse

This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary categorizations, embracing the open-endedness and provisionality of forms. This manifests itself interactively in the six case studies, which have been chosen for their distinctness and diversity across the long twentieth century: the book begins with the early-twentieth-century work of writer and artist Djuna Barnes, exploring her re-animation of sculptural and dramatic sources. It then turns to the late modernist artist and poet David Jones, considering his use of the graphic and plastic arts in The Anathemata, and next, to the underappreciated mid-century poet F.T. Prince, whose work uncannily reactivates Michelangelo's poetry and sculpture. The second half of the book explores the collaborations of the canonical poet Ted Hughes with the publisher and artist Leonard Baskin during the 1970s; the innovative late-twentieth-century poetry of Denise Riley, who uses page space and embodied sound as a form of address; and, finally, the contemporary poet Paul Muldoon, who has collaborated with photographers and artists, as well as ventriloquizing nonhuman phenomena. The resulting unique study offers contemporary writers and readers a new understanding of literary, artistic, and nonhuman practices and shows the cultural importance of engaging with their messy co-dependencies. The book challenges critical methodologies that make a sharp division between the textual work and the extra-literary, and raises urgent questions about the status and autonomy of art and its social role.

This Foreword, about robots, written in both poetry as well as prose, introduces the edited collection _Androids, Cyborgs, and Robots in Contemporary Culture and Society_, edited by Steven J. Thompson (IGI Global, 2018). The link on the thumbnail cover at
https://www.igi-global.com/book/_/179222 will take you directly to the published Foreword, which is open access. The attached PDF, sent directly to me from IGI-Global to use here, is presented with written permission of the publisher.