My Way_ Speeches and Poems - Charles Bernstein

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TAP S [I N M EM 0 R I A MER I C MOT T RAM 1 303 is left or echo what remains scrambling up & back stairs, dressers, seams Or meet again on the Danube, the Danube, & sing the old songs Meet again on the Danube until we've gone to jail! Only twenty minutes to there from here. A dollar down & fifty more to go. A dollar down & turn around, & none to go!
narning-~oefT~ ~rea Publics under Construction Do publics construct poetry or does poetry construct publics? Not so fast, where's the shell under those nuts, the nuts under those texts, the texts under those author-functions, the author-functions inside those periods, the periods inside those stanzas, the stanzas inside those ever-loving tats for ticks, quantums for particles, buzz saws for heliotropes, missionaries for bugle boys? The public does not and cannot exist until it can find means to constitute itself; to convene in, on, or about the precincts of language; to explore its multiple, overlapping or mutually exclusive, constituent parts, elements, components, units, fractions, links, bands, conglomerations, alliances, groupings, configurations, spheres, clusters, divisions, localities; to find means of conversation without necessitating conversion, among and between these constituent parts, allowing that these parts shift and reconfigure in response to changing circumstances. Poetry explores the constitution of public space as much as representing already formed constituencies; risks its audience as often as assumes it; refuses to speak for anyone as much as fronting for a self, group, people, or species. In the process of recognizing new communities, new audiences, and new publics for poetry, as well as redreSSing the previous exclusion of groups from our republic of letters, I want to honor the complexity of contemporary American poetic practice over and above its representativeness. Within universities in the 1990s, contemporary poetry is increasingly being taught for the ways it marks, narrates, and celebrates ethnicity, gender, and race. To fit this curricular imperative, some poems may be selected for their explicit and positive group representations. Other poems (by the same poet or by other poets) may seem less useful if they are found to complicate representation because of their structural or formal complexitytheir contradictory, ambivalent, obscure, or mixed expressions or inexpressions of identity; or because of their negative or skeptical approaches to fixed conceptions of self or group identity. For poetry may wish to question, rather than assume, group identity as much as self identity-
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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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AN AUTOBIOGRAPHICAL INTERVIEW 251 o
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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
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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 314 and 315: CLOSE LISTENING 301 country, and in
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Page 324 and 325: WARNING-POETRY AREA 311 of technolo
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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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