My Way_ Speeches and Poems - Charles Bernstein

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UN ZIP B LEE D 139 texture of truth. Let me prevaricate on this point for just a minute more. You hold in your hands the evidence of my duplicity. ''I'm hungry/l, said the lion. /II haven't had a thing to eat all day./I The meaning of this sentence is not open to dispute. What thoughts I have of you tonight, Walter Benjamin, as I sing without hearing my voice, as I dance in the Cenozoic moonlight! Showboat to Abracadabra and Shazam by way of Palookaville. /II can't eat that, at least not until I become a bird./I Holding that it is our actions not ourselves that have, or may accrue, value. Splash of lemon, side of slaw. Millicent could no longer contain her pride-until she started wearing Rely ultrabsorbent pads. Thrill a minute and not a minute too soon. To test an hypothesis, we all run up 4 or 5 flights of stairs (I have to run down 1 or 2 before I can go up 4 or 5). Later, I get a call about a murder. Then I see Byron fall in the stairwell-I think he will tumble all the way down but he lands only 1 flight below and is okay. Eliot immediately gets into the car and drives to Fort Browning, reporting fully on our indecorous deportment. /lYou're cold, you're hot, you're hungry, you're fullyou're very inconstant./I Bloomers one day, blue jays the next. I take RACE to be the central fact to persons born in America. Not that I know much about identity. Frankly, the issue confuses me. In any case, here are the facts. A stump is what's left after you cut off the rest of the tree. In this sense, humans are the stumps of nature, or is it chumps, or chipmunks, or monkeys, or aren't you the kind that spills the coffee and then pretends it was your sister, brother, neighbor, a ghost of a chance, she made me do it. Who ever said things would get less complicated? I'd say subconscious was too good a word for you. Bruno bowled a perfect game that day but things were not going so well on the job. 'Just get it offyourchest/l, Nash insisted, /leven if the guys won't understand a word of it. At least you'll see it won't make you feel any better./I The letter finally arrived but it was empty. /100 you mean Liberty the town or liberty the concepti' As if the ghosts we had to fear were the dead ones. It was not a light such as Giles had ever seen before. Never borrow a blender if you can steal it. Shifting into overdrive for the long haul over the deserted central plains, Mindy started her second pack of Doublemint gum. Then you'll never have to return the blender. Garden hoses as metaphor for social dysfunction. Just like our little doggies sent away for messing up the living room, we'll all be going to "a little farm in New Jersey/l one day. A spool of thread, a jug of signs, and you beside me in the wilderness. Our representatives are still busy-please hold.
lac~r~mose (ncaustic I ~brasiue lear Press this 1 qUickly and if it truly jerks2 who knows3 who'll find it suiter than a bend4 for when the promise mocks5 the call or calls her course delay,6 inlaid that long go out to fault the7 woes that tarnish stain and toggle stare 1. The loom foretells the stall That jackass makes in sloth Rues the mauling of a splay Who incensed layers quill recall Or miffed to squander plum 2. That lays the blame too soon Or sooner ended comes to croon 3. Or nearing not rebuffs Such vagrant scorn As tallies to the husk & bloke of bilious crown 4. In loonier times than these Mere mitigation lies Or dangles pomp where Want is all but guise 5. As age delays emotion Emotion churns its pent 6. Whence leering folds the smattered Calf and schmooze accords irksome bile 7. Forsake such benched occlusion Leaving gale to mind the store-bought Premise of doleful tilt & chary With a word recant
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Speeches and Poems [~aTles hmstein
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for Felix
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[ontents Hi Preface A Defense of Po
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hef ace I'm incorrect: the learned
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~ ~efence of ~oetr~ for Brian McHal
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l~e ~euenge of t~e ~oet-[ritic. or
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REVENGE OF THE POET-CRITIC 5 often
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REVENGE OF THE POET-CRITIC 7 its pa
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REVENGE OF THE POET-CRITIC 9 invest
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REVENGE OF THE POET-CRITIC 11 inter
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REVENGE OF THE POET-CRITIC 13 The q
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REVENGE OF THE POET-CRITIC 15 on po
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REVENGE OF THE POET-CRITIC 17 Dista
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THELONIOUS MONK 19 Nonetheless, I'v
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THELONIOUS MONK 21 To perform a poe
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THE LON IOU 5 M 0 N K 23 acting, wh
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~n Interuiellllllit~ manuel ~rito M
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AN INTERVIEW WITH MANUEL BRITO 27 w
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A N IN T E RV lEW WIT H MAN U E L B
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AN INTERVIEW WITH MANUEL BRITO 31 a
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~oli~arit~ Is t~e ~ame me ~iue to m
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SOL I DAR I T Y 1ST HEN A M E 35 po
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WHAT'S ART GOT TO DO WITH IT? 37 co
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WHAT'S ART GOT TO DO WITH IT? 39 nu
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WHAT'S ART GOT TO DO WITH IT? 41 si
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WHAT'S ART GOT TO DOW I T HIT? 43 t
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W HAT' 5 ART GOT TO DOW I T HIT? 45
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WHAT'S ART GOT TO DO WITH IT? 47 jo
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W HAT'S ART GOT TO DOW I T HIT? 49
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WHAT'S ART GOT TO DO WITH IT? 51 en
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How about strain, does it mean a se
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A TEST OF POETRY 55 the echoes of M
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THE BOO K A S ARC HIT E C T U R E 5
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all those express trains hurtling t
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that, but philosophyhave you read m
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~n InteruielU lUit~ ~anna~ moc~el-~
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A N I N T E R V lEW WIT H HAN N A H
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AN INTERVIEW WITH HANNAH MOCKEl-RIE
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I ~on't la~e ~oi[e mail The Object
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I DON'T TAKE VOICE MAll 75 often di
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I DON'T TAKE VOICE MAIL 77 systems
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I DON'T TAKE VOICE MAIL 79 screen o
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Every day. Day by day. The hours ha
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[laiTe-jn-t~e- ~ui l~ing There is n
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C l A IRE· IN· THE· B U I l DIN
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AGAIN EIGNER 87 that is not dissimi
Page 102 and 103: "slicks" "shakes" "hums" "simmers"
Page 104 and 105: FRAME LOCK 91 ory, prophylactically
Page 106 and 107: FRAME LOCK 93 compelling, while the
Page 108 and 109: F RAM E L 0 C K 95 ence is not sati
Page 110 and 111: F RAM E L 0 C K 97 with another and
Page 112 and 113: FRAME LOCK 99 Is criticism condemne
Page 114 and 115: "PASSED BY EXAMINATION" 101 break o
Page 116 and 117: "PASSED BY EXAMINATION" 103 Here is
Page 118 and 119: THE V A L U E 0 F 5 U L FUR 105 tra
Page 120 and 121: THE V A L U E 0 F S U L FUR 107 poe
Page 122 and 123: ~ertru~e an~ lU~UJif s ~ogus ~~uent
Page 124 and 125: INTROJECTIVE VERSE 111 one the poem
Page 126 and 127: oetics of t~e ~meTicas Speaking in
Page 128 and 129: POETICS OF THE AMERICAS 115 zines p
Page 130 and 131: POETICS OF THE AMERICAS 117 cupied
Page 132 and 133: POETICS OF THE AMERICAS 119 defines
Page 134 and 135: POETICS OF THE AMERICAS 121 and dia
Page 136 and 137: POE TIC S OFT H E AM E RIC A S 123
Page 138 and 139: POE TIC S 0 F THE AM E RIC A S 125
Page 140 and 141: POETICS OF THE AMERICAS 127 and McK
Page 144 and 145: POETICS OF THE AMERICAS 131 grow ti
Page 146 and 147: POETICS OF THE AMERICAS 133 also th
Page 148 and 149: POE TIC S 0 F THE AM E RIC A s 135
Page 154 and 155: ~tein' s Identit~ What is identity
Page 156 and 157: STEIN'S IDENTITY 143 Of course anyo
Page 158 and 159: ~rouisionallnstitutions Alternative
Page 160 and 161: PROVISIONAL INSTITUTIONS 147 At the
Page 162 and 163: PRO V I S ION A LIN S TI T U TI 0 N
Page 164 and 165: PROVISIONAL INSTITUTIONS 151 out to
Page 166 and 167: PROVISIONAL INSTITUTIONS 153 articu
Page 168 and 169: ~oun~ an~ t~e ~oetr~ of 1 o~a~ What
Page 170 and 171: P 0 U N DAN D THE POE TRY 0 F T 0 D
Page 174 and 175: POUND AND THE POETRY OF TODAY 161 t
Page 176 and 177: POUND AND THE POETRY OF TODAY 163 g
Page 180 and 181: INAPPROPRIATE TOUCHING 167 as eyeli
Page 182 and 183: ROBIN ON HIS OWN 169 'mother may It
Page 184 and 185: ROB I NON HIS 0 W N 171 to mean in
Page 186 and 187: ROB I NON HIS 0 W N 173 poetic comp
Page 188 and 189: Water Ima~es of "'e HeUJ forier May
Page 190 and 191: WATER IMAGES OF THE NEW YORKER 177
Page 192 and 193: THE RESPONSE AS SUCH 179 way of say
Page 194 and 195: THE RESPONSE AS SUCH 181 tribution
Page 196 and 197: THE RESPONSE AS SUCH 183 Howe has g
Page 198 and 199: THE RES P 0 N SEA S S U C H t 85 au
Page 200 and 201: FRO MAN 0 N G 0 I N G I NT E R V lE
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FRO MAN 0 N G 0 I N G I NT E R V lE
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fHplicit ~ersion ~umber ~equired Ye
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HINGE PICTURE 193 Which is to say t
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Generations to a Sunday that holds
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~e2ni~off S ~earness 1. Charles Rez
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REZNIKOFF'S NEARNESS 199 "the pithy
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REZNIKOFF'S NEARNESS 201 reviewed b
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R E Z N I K 0 F F' S N EAR N E S S
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R E Z N I K 0 F F 's N EAR N E S S
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R E Z N I K 0 F F 's N EAR N E S S
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R E Z N I K 0 FF '5 N EAR N E 5 5 2
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REZNIKOFF'S NEARNESS 211 and unassu
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REZNIKOFF'S NEARNESS 213 everywhere
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REZNIKOFF'S NEARNESS 215 23. Hanukk
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REZNIKOFF'S NEARNESS 217 tributed t
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REZNIKOFF'S NEARNESS 219 34. It's a
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R E Z N I K 0 F F 's N EAR N E S s
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REZNIKOFF'S NEARNESS 223 themes in
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R E Z N I K OFF' 5 N EAR N E 5 5 22
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R E Z N I K 0 F F' S N EAR N E S S
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~n ~uto~iograp~icallnteruieUJ Loss
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AN AUTOBIOGRAPHICAL INTERVIEW 231 t
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AN AUTOBIOGRAPHICAL INTERVIEW 233 p
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AN AUTOBIOGRAPHICAL INTERVIEW 235 f
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AN AUTOBIOGRAPHICAL INTERVIEW 237 e
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A N AUT 0 B lOG RAP H I CAL I NT E
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A N AUT a B lOG RAP H I CAL I N T E
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A N AUT 0 B lOG RAP H I CAL I N T E
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A N AUT 0 B I 0 C RAP HIe A LIN T E
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AN AUTOBIOGRAPHICAL INTERVIEW 247 s
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A N AUT 0 B lOG RAP H I CAL I NT E
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AN AUTOBIOGRAPHICAL INTERVIEW 251 o
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~e~on~ fmaciation Hemmed in by ocea
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~idin~' s ~eason That He another da
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RID I N G 's REA SON 257 she lived,
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RIDING'S REASON 259 truthfulness /
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RIDING'S REASON 261 the concept of
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RID I N G 's REA SON 263 configurat
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RID I N G 's REA SON 265 More natur
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RID I N G '5 REA SON 267 important
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WHO S E H E KID DIN G 269 water in
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UNREPRESENTATIVE VERSE 271 only in
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~oetr~ and lffiale11 ~eH I don't kn
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POETRY AND [MALE?] SEX 275 forms of
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POE TRY AND [M ALE? 1 SEX 277 post
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~lose listening Poetry and the Perf
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C LOS ELI S TEN I N G 281 Goffman's
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C LOS EllS TEN I N G 283 Gospel cal
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C LOS EllS TEN I N G 285 mensurate.
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C LOS ELI S TEN I N G 287 reading.
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C LOS ELI S TEN I N G 289 What is t
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CLOSE LISTENING 291 to Giorgio Agam
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C LOS ELlS TEN I N G 293 slippage a
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C LOS ELI S TEN I N G 295 around th
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C LOS ELI S TEN I N G 297 speaks; h
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C LOS EllS TEN I N G 299 bases of r
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CLOSE LISTENING 301 country, and in
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TAP S [I N M EM 0 R I A MER I C MOT
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WAR N I N G - POE TRY ARE A 305 not
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WAR N I N G - POE TRY ARE A 307 whe
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WAR N I N G - POE TRY ARE A 309 lin
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WARNING-POETRY AREA 311 of technolo
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THE REPUBLIC OF REALITY 313 of a de
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THE REPUBLIC OF REALITY 315 to be p
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~otes and ~dnoUJledgments First pub
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Claire-in-the-Building. Mirage #4/P
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NOT E SAN D A C K NOW LED G MEN T S
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My Way_ Speeches and Poems - Charles Bernstein

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