My Way_ Speeches and Poems - Charles Bernstein

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~e~on~ fmaciation Hemmed in by oceanic verisimilitude quite a lot like blazing pumps with pompadour upholstery, bloated enough to playa hunch on lumpy reprehension, sputtering atop murky monstrosity of chronic maldistribution of rectifiers, like the match that hit point at the expense of spooners, or the pompadour that cartwheeled past Tumultuous Expectation (Evacuation), slogging through packed pitfalls and penny-dreadful circuits, melody of tilts & tailspins, tunnels & torches. Suds, these are my suds-any attribution to corroded (corrugated) segment, spooked the stake and succumb to eviscerated haberdashery on line at navigational stumpbumpy calculus to somewhere near argumentation's eponymous mortuary. Then walking ahead or backing off, gesticulating with meretricious momentum, salamander retrieval intercepts gummy (gulled) garrulousity who meant all the time to throw the dice to the other corridor. The ball rolls down the lane or street or m
254 BEY 0 N D EM A C I AT ION curb or row or meeting ground and the titular turner stoops to swoop it up but
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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
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"slicks" "shakes" "hums" "simmers"
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FRAME LOCK 91 ory, prophylactically
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FRAME LOCK 93 compelling, while the
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F RAM E L 0 C K 95 ence is not sati
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F RAM E L 0 C K 97 with another and
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FRAME LOCK 99 Is criticism condemne
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"PASSED BY EXAMINATION" 101 break o
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"PASSED BY EXAMINATION" 103 Here is
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THE V A L U E 0 F 5 U L FUR 105 tra
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THE V A L U E 0 F S U L FUR 107 poe
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~ertru~e an~ lU~UJif s ~ogus ~~uent
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INTROJECTIVE VERSE 111 one the poem
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oetics of t~e ~meTicas Speaking in
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POETICS OF THE AMERICAS 115 zines p
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POETICS OF THE AMERICAS 117 cupied
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POETICS OF THE AMERICAS 119 defines
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POETICS OF THE AMERICAS 121 and dia
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POE TIC S OFT H E AM E RIC A S 123
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POE TIC S 0 F THE AM E RIC A S 125
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POETICS OF THE AMERICAS 127 and McK
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POETICS OF THE AMERICAS 131 grow ti
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POETICS OF THE AMERICAS 133 also th
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POE TIC S 0 F THE AM E RIC A s 135
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UN ZIP B LEE D 139 texture of truth
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~tein' s Identit~ What is identity
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STEIN'S IDENTITY 143 Of course anyo
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~rouisionallnstitutions Alternative
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PROVISIONAL INSTITUTIONS 147 At the
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PRO V I S ION A LIN S TI T U TI 0 N
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PROVISIONAL INSTITUTIONS 151 out to
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PROVISIONAL INSTITUTIONS 153 articu
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~oun~ an~ t~e ~oetr~ of 1 o~a~ What
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P 0 U N DAN D THE POE TRY 0 F T 0 D
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POUND AND THE POETRY OF TODAY 161 t
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POUND AND THE POETRY OF TODAY 163 g
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INAPPROPRIATE TOUCHING 167 as eyeli
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ROBIN ON HIS OWN 169 'mother may It
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ROB I NON HIS 0 W N 171 to mean in
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ROB I NON HIS 0 W N 173 poetic comp
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Water Ima~es of "'e HeUJ forier May
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WATER IMAGES OF THE NEW YORKER 177
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THE RESPONSE AS SUCH 179 way of say
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THE RESPONSE AS SUCH 181 tribution
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THE RESPONSE AS SUCH 183 Howe has g
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THE RES P 0 N SEA S S U C H t 85 au
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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
Page 216 and 217: R E Z N I K 0 F F' S N EAR N E S S
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Page 228 and 229: REZNIKOFF'S NEARNESS 215 23. Hanukk
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Page 232 and 233: REZNIKOFF'S NEARNESS 219 34. It's a
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Page 242 and 243: ~n ~uto~iograp~icallnteruieUJ Loss
Page 244 and 245: AN AUTOBIOGRAPHICAL INTERVIEW 231 t
Page 246 and 247: AN AUTOBIOGRAPHICAL INTERVIEW 233 p
Page 248 and 249: AN AUTOBIOGRAPHICAL INTERVIEW 235 f
Page 250 and 251: AN AUTOBIOGRAPHICAL INTERVIEW 237 e
Page 252 and 253: A N AUT 0 B lOG RAP H I CAL I NT E
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Page 258 and 259: A N AUT 0 B I 0 C RAP HIe A LIN T E
Page 260 and 261: AN AUTOBIOGRAPHICAL INTERVIEW 247 s
Page 262 and 263: A N AUT 0 B lOG RAP H I CAL I NT E
Page 264 and 265: AN AUTOBIOGRAPHICAL INTERVIEW 251 o
Page 268 and 269: ~idin~' s ~eason That He another da
Page 270 and 271: RID I N G 's REA SON 257 she lived,
Page 272 and 273: RIDING'S REASON 259 truthfulness /
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Page 280 and 281: RID I N G '5 REA SON 267 important
Page 282 and 283: WHO S E H E KID DIN G 269 water in
Page 284 and 285: UNREPRESENTATIVE VERSE 271 only in
Page 286 and 287: ~oetr~ and lffiale11 ~eH I don't kn
Page 288 and 289: POETRY AND [MALE?] SEX 275 forms of
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Page 294 and 295: C LOS ELI S TEN I N G 281 Goffman's
Page 296 and 297: C LOS EllS TEN I N G 283 Gospel cal
Page 298 and 299: C LOS EllS TEN I N G 285 mensurate.
Page 300 and 301: C LOS ELI S TEN I N G 287 reading.
Page 302 and 303: C LOS ELI S TEN I N G 289 What is t
Page 304 and 305: CLOSE LISTENING 291 to Giorgio Agam
Page 306 and 307: C LOS ELlS TEN I N G 293 slippage a
Page 308 and 309: C LOS ELI S TEN I N G 295 around th
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Page 312 and 313: C LOS EllS TEN I N G 299 bases of r
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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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