Maram Al-Masri, from Barefoot Souls; Gabeba Baderoon, Poetry For Beginners
Javier Bello, I Decided to Dissolve
Charles Bernstein, Pinky’s Rule
John Burnside, An Essay on Mourning
Chan Chi Tak 陳滅, Hong Kong Lights 香港韶光
Chen Dongdong 陳東東, The Emperor of Poetry Translated from Conquered Nations 譯自亡國的詩歌皇帝
Chen Xianfa 陳先發 The Question of Raising Cranes 養鶴問題
Lorna Crozier, Angel of Tigers
Julia Fiedorczuk, Orion’s Shoulder
Jérôme Game, Hong Kong is Hong Kong
Hirata Toshiko 平田俊子, The Man Without Arms
Major Jackson, Heritage
Nuno Júdice, Variation on Roses
Agnes S.L. Lam 林舜玲, Poppies by the Motorway 公路旁的紅罌粟
Semezdin Mehmedinović, Functions of the Heart
Moon Chung-Hee, A Letter from the Airport
George Szirtes, Like a Black Bird
Mark Tredinnick, Egret in a Ploughed Field
Anja Utler, Counter Position
Dmitry Vedenyapin, The Faith of a Mushroom
Haris Vlavianos, Pascal’s Will
Cui Jian 崔健, Never Turning Back 死不回頭
Chow Yiu Fai 周耀輝, Androgyny 雌雄同體.
To order click the image above.
For more information on International Poetry Nights in Hong Kong, including the schedule of readings and events, go to http://www.ipnhk.com/
Readings by Marilyn Nelson, Bei Dao 北岛, Afaa Weaver, Zhai Yongming 翟永明, Pierre Joris, Xi Chuan 西川, Mei-Mei Berssenbrugge, Zhou Zan 周瓒, Charles Bernstein, and Ouyang Jianghe 欧阳江河, followed by remarks from Xu Bing 徐冰, introduced by Lydia Liu 刘禾.
For Xi Chuan reading my translation of “Bloom” 开花, jump to 49:21.
Bei Dao 北岛 • Charles Bernstein • Mei-Mei Berssenbrugge
Pierre Joris • Marilyn Nelson • Ouyang Jianghe 欧阳江河
Afaa Weaver • Xi Chuan 西川 • Zhai Yongming 翟永明 • Zhou Zan 周瓒
with remarks from
Xu Bing 徐冰
Wednesday, February 25, 2015
7:00 PM – 9:00 PM
Reception to follow
Cathedral of St. John the Divine
1047 Amsterdam Avenue
New York, NY 10025
This event is free and open to the public.
The 3rd Convention of the Chinese/American Association for Poetry and Poetics will take place in Shanghai from December 18 to19, 2014. This convention will be hosted by Shanghai University and co-sponsored by Central China Normal University, Foreign Literature Studies, Forum for World Literature Studies, University of Pennsylvania, and China Three Gorges University. Papers are called from scholars all over the world.
I. Conference Topics
1. Modern and contemporary poetry and poetics
2. Meaning/politics of poetic form
3. On and off the page: Poetry, society, culture
4. Poetry in the genealogical perspective: the evolution (and devolution) of poetic genres
5. Poetry and poetics in the context of comparative literature and comparative arts
6. Poetry in the global context: Diffusion, exchange, conflict
7. Poetry and new media
8. Poetics of translation
For the full call for papers at Charles Bernstein’s blog, click the image above.
Jacob Edmond’s A Common Strangeness has been named runner-up for the Association for the Study of the Arts of the Present 2013 Book Prize. ASAP’s citation reads:
In this remarkable book, comparative literature outdoes itself, becoming fully contemporary and transnational: Edmond innovates a genuinely global poetics that discovers the fullest cultural crossings among Chinese, Russian, and U.S. poets. Reading correspondences among Yang Lian, Arkadii Dragomoshchenko, and Lyn Hejinian, Bei Dao, Dmitri Prigov, and Charles Bernstein, among others, Edmond aims to give a field “still shaped by the history and conceptual and political structures of the Cold War” the resources to read the “appositional, transnational, and multicultural poetics of our current era”; its focus is contemporary poetry’s “common commitment to forms of strangeness,” which disallow old assertions of what unites or foreignizes the world’s populations. And its great advantage is a sense of literary culture equally powerful in its three languages, which translates to interpretive insight uniquely adequate to the world today.
The words transnational and globalization appear frequently within scholarship on contemporary poetry, but so far there have been few sustained attempts to narrate recent developments across more than two language-groups or geographical regions. … In the present era of pervasive budget cuts, curtailed language instruction, and increased productivity demands, who has the training, time, and resources required to engage in even more broad-based comparative research?
At least one person can now be said to fill the bill. Jacob Edmond’s A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature recounts the history of avant-garde poetry from the late 1960s to the turn of the millennium in the United States, the People’s Republic of China, and the Soviet Union/Russian Federation. Edmond concentrates on six figures: Yang Lian and Bei Dao, menglong shiren (Misty Poets) who defied Cultural Revolution-era restrictions on writerly freedom; Arkadii Dragomoshchenko and Dmitri Prigov, samizdat poets whose careers extend into the post-Soviet period; and Lyn Hejinian and Charles Bernstein, founding members of the avant-garde movement known as Language poetry. Throughout, Edmond shows himself to be thoroughly grounded in the relevant literary traditions, and whether a given poem is written in English, Russian, or Mandarin, he proves able to supply the kind of intensive, patient, erudite textual analysis that one associates with the Yale school back in its heyday.
And Lisa Samuels’s “Bridges Across Silos“:
Jacob Edmond’s refreshing book focuses on concerns common to avant-garde poetry and comparative literature, specifically poetic material produced primarily in the 1980s and 1990s by six writers from China, Russia, and the United States and comparative literature’s interest in negotiating dialectics between self and other. Edmond’s introduction indicates his interest in sighting a ‘third alternative’ to Maurice Blanchot’s 1971 concept of ‘common strangeness’: Edmond wants to write within zones ‘between the common and the co-man, between speaking of others—of exile literature, modernism, or world literature—and speaking to them: responding to how we can know or write about each other in the first place.’ … The book stays true to the dialectical energy promised in its introduction. That energy shifts its sails in relevant directions, and it consistently concerns matters both brought forward and presumed as background to this work.
While many comparative literary studies have used textual and contextual analysis to examine authors and literary movements so as to show commonalities and differences, Edmond employs a different methodology. The domestic political and literary contexts, although a constant presence in the background, are only lightly sketched, and focus is directed on the concerns that have shaped the work of these authors in the world, as members of a transnational poetic community. Translation is yet another diffused activity that touches upon the selected creative and conceptual practices, providing an extra motive for gathering these poets together in this book.
MCLC has published Jonathan Stalling’s review of Jacob Edmond’s A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature. Here’s how it begins:
To begin with, Jacob Edmond’s new book, A Common Strangeness, is anything but common and signals what I hope will be a new trend toward more ambitious studies of late-modernist to contemporary poetics on a global scale. While it might be premature to announce the arrival of a “global poetics,” there is a pressing need for a space to explore this genre specific cognate of World Literature, a space to reimagine what in China operates under the title: comparative poetics (比较诗学). This is a robust area of academic research in China, yet it tends to reduce poetry and poetics to the pre WWII traditional canon: Plato, Aristotle, and Longinus; Sidney, Pope, and Johnson; Wordsworth, Coleridge, and Emerson; Poe, Arnold, and Eliot; and perhaps Frost, Williams, Hughes, and, because it is China, Pound. In English literary criticism today, however, the term “poetics” often demarks poetry discourses consciously connected to avant-garde practice along the vectors of a more radical canon: Blake, Whitman, Stein, Pound, Zukofsky, Olson, Mac Low/John Cage to Susan Howe, Lyn Hejinian and others associated with the so-called LANGUAGE poets from the 1970s forward through neo-conceptual poetry, etc … One should also mention that scholars tracking trends in contemporary poetics in the West have remained problematically Anglophonocentric and have largely failed to attend to poetic shifts on a global scale unless such shifts are explicitly conversant in the idioms of innovative English-based poetics (including those within the Sinophone sphere). So while no single volume could ever hope to connect the multitudinous and heterogeneous threads of a “global poetics,” A Common Strangeness succeeds in moving in this direction in part by offering a critical lens (strangeness) through which to view poetry on a global scale.
Click the image above for the full review.
In the lives of poets, as in the lives of most other people, there has been a great change of consciousness worldwide over the last three or four decades. We have gone from a contest between capitalist West and communist East (with an ill-defined “third world” bending this way and that in the background); to the apparent dominance of capitalism and the market, even in officially “communist” China (with the rumblings of nationalist particularities in the background, especially in the Muslim world). We are also aware of how different cultural exchanges have become in the age of the internet, high-speed communication and a pervasive and internationally-marketed “pop culture”. With varying degrees of approval and disapproval, and with varying and competing definitions, terms like multiculturalism and globalism are now tossed around.
The debate over the “universality” of literature – including poetry – is not a new one, but it becomes more acute in this new global context. By definition, poetry is language, but languages are not universal. Traditionally, the universal was seen to be best expressed in the particular – hence, a poem “understood” worldwide was nevertheless rooted in a particular language and culture, and much of even the most “universal” poem was always untranslatable for those outside that particular language and culture.How are poets, especially avant-garde poets, responding when they are now – like nearly everybody else – also wired in to an international ‘global’ culture?