My Way_ Speeches and Poems - Charles Bernstein

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CLOSE LISTENING 301 country, and in Canada, Australia, New Zealand, and Great Britain, have active local reading series that serve to galvanize local poetry activity. The range of such activity is so great as to be difficult to document, since the written record is so much poorer than that of publications. This absence of documentation, together with the tendency among critics and scholars to value the written over the performed text, has resulted in a remarkable lack of attention given to the poetry reading as a medium in its own right, a medium that has had a profound impact on twentieth century poetry, and in particular the poetry of the second half of the century. The reading is the site in which the audience of poetry constitutes and reconstitutes itself. It makes itself visible to itself. And while the most attention had been paid to those moments when the poetry reading has been a means for poetry to cross over to a wider audience-as in the antiwar and other politically oriented readings of the 1960s or in some of the performance poetry of the present moment-the fundamental, social significance of the reading, it seems to me, has to do with infrastructure not spectacle. For this reason I would turn around the familiar criticism that everyone at a poetry reading is a poet to say that this is just what is vital about a reading series, even the essence of the poetry reading. For poetry is constituted dialogically through recognition and exchange with an audience of peers, where the poet is not performing to invisible readers or listeners but actively exchanging work with other performers and participants. This is not to say that reading series geared to a more "general" public or to students are not valuable. Of course they are. But such events resemble non poetry performances in that their value is dissemination to an unknown audience more than creation and exchange. They are not the foundries of poetry that a more introverted reading series can be. Poetry, oddly romanticized as the activity of isolated individuals writing monological lyrics, is among the most social and socially responsive-dialogic-of contemporary art forms. The poetry reading is an ongoing convention of poetry, by poetry, for poetry. In this sense, the reading remains one of the most participatory forms in American cultural life. Indeed, the value of the poetry reading as a social and cultural form can be partly measured by its resistance, up to this point, to reification or commodification. It is a measure oj its significance that it is ignored. That is, the (cultural) invisibility of the poetry reading is what makes its audibility so audacious. lts relative absence as an institution makes the poetry reading the ideal site for the presence of language-for listening and being heard, for hearing and for being listened to.
laps [In memoriam Eric Mottram] Sometimes I feel grim \ come out of the subway, tears on skin Or meet again on the Danube, the Danube, & sing the old songs Meet again on the Danube until we've gone to jail A voice that eludes reason, manner of insistences, hope doubled upon oration, bubbles the turf you won't be wanting any more in the morning My name is "Interrogation Rooms" My name is "Refamiliarization" My name is "Standing Up and Ripping Through" as if you could name love without turning it into an abstraction & killing it Only twenty minutes to there from here. A dollar down & fifty more to go. A dollar down & turn around, & fifty more to gol at a moment's spin, recollect what m
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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
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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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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 282 and 283: WHO S E H E KID DIN G 269 water in
Page 284 and 285: UNREPRESENTATIVE VERSE 271 only in
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Page 288 and 289: POETRY AND [MALE?] SEX 275 forms of
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Page 292 and 293: ~lose listening Poetry and the Perf
Page 294 and 295: C LOS ELI S TEN I N G 281 Goffman's
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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
Page 316 and 317: TAP S [I N M EM 0 R I A MER I C MOT
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Page 324 and 325: WARNING-POETRY AREA 311 of technolo
Page 326 and 327: THE REPUBLIC OF REALITY 313 of a de
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Page 330 and 331: ~otes and ~dnoUJledgments First pub
Page 332 and 333: Claire-in-the-Building. Mirage #4/P
Page 334: 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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