My Way_ Speeches and Poems - Charles Bernstein

Recommendations

Info

SOL I DAR I T Y 1ST HEN A M E 35 poet, a dialectical poet, a polyphonic poet, a hybrid poet, a wandering poet, an odd poet, a lost poet, a disobedient poet, a bald poet, a virtual poet. & I am none of these things, nothing but the blank wall of my aversions writ large in disappearing ink-
n~ar s ~Tt ~ot to ~o UJit~ It 1 The Status of the Subject of the Humanities in an Age of Cultural Studies The gradual shift from literary studies to cultural and multicultural studies is probably the most useful change to have occurred within the American academy in the past decade. The literary studies approach to the humanities tended to make a clearcut distinction between works of art and works of mass or popular culture. Works of art were the primary field of study for the critic, whose secondary role was to explicate or illuminate these art objects. Yet it is difficult to provide a rule for distinguishing great art from cultural artifact, and the ideological biases of much of the prevailing literary and art connoisseurship have served literary studies poorly. In contrast, the cultural studies approach seems both more reasonable and more malleable. We start not with art and its others but with a variety of signifying practices. The field of possible attention is vast and might just as well include film comedies of the thirties as Dickens's novels, Kewpie dolls as much as Picassosi although, for practical purposes, the focus of any given study will be narrowed. The shift to poststructuralist cultural studies has been precipitated by an intriguing variety of frames of interpretation-theoretical, historical, psychological, and sociological. I say interpretative frames rather than methods, for within each of these frames there are a number of distinct, and competing, methodologies. The present crisis of cultural studies results from the seeming autonomy of the frames of interpretation from what they are to interpret; we have less objects of study than what Stanley Fish calls "interpretive communities". What is to be interpreted is by no means secure, nor are the objects of interpretation necessarily of any determining significance. This is a somewhat awkward, even anxious situation. But it is not fundamentally different from the methodological approach of much modernist and contemporary art, where forms of interpretation constitute the subject. In large measure, the controversy in the national media over the political crisis of higher education-whether characterized in terms of "political
Page 4 and 5: Speeches and Poems [~aTles hmstein
Page 6: for Felix
Page 10 and 11: [ontents Hi Preface A Defense of Po
Page 12 and 13: hef ace I'm incorrect: the learned
Page 14 and 15: ~ ~efence of ~oetr~ for Brian McHal
Page 16 and 17: l~e ~euenge of t~e ~oet-[ritic. or
Page 18 and 19: REVENGE OF THE POET-CRITIC 5 often
Page 20 and 21: REVENGE OF THE POET-CRITIC 7 its pa
Page 22 and 23: REVENGE OF THE POET-CRITIC 9 invest
Page 24 and 25: REVENGE OF THE POET-CRITIC 11 inter
Page 26 and 27: REVENGE OF THE POET-CRITIC 13 The q
Page 28 and 29: REVENGE OF THE POET-CRITIC 15 on po
Page 30 and 31: REVENGE OF THE POET-CRITIC 17 Dista
Page 32 and 33: THELONIOUS MONK 19 Nonetheless, I'v
Page 34 and 35: THELONIOUS MONK 21 To perform a poe
Page 36 and 37: THE LON IOU 5 M 0 N K 23 acting, wh
Page 38 and 39: ~n Interuiellllllit~ manuel ~rito M
Page 40 and 41: AN INTERVIEW WITH MANUEL BRITO 27 w
Page 42 and 43: A N IN T E RV lEW WIT H MAN U E L B
Page 44 and 45: AN INTERVIEW WITH MANUEL BRITO 31 a
Page 46 and 47: ~oli~arit~ Is t~e ~ame me ~iue to m
Page 50 and 51: WHAT'S ART GOT TO DO WITH IT? 37 co
Page 52 and 53: WHAT'S ART GOT TO DO WITH IT? 39 nu
Page 54 and 55: WHAT'S ART GOT TO DO WITH IT? 41 si
Page 56 and 57: WHAT'S ART GOT TO DOW I T HIT? 43 t
Page 58 and 59: W HAT' 5 ART GOT TO DOW I T HIT? 45
Page 60 and 61: WHAT'S ART GOT TO DO WITH IT? 47 jo
Page 62 and 63: W HAT'S ART GOT TO DOW I T HIT? 49
Page 64 and 65: WHAT'S ART GOT TO DO WITH IT? 51 en
Page 66 and 67: How about strain, does it mean a se
Page 68 and 69: A TEST OF POETRY 55 the echoes of M
Page 70 and 71: THE BOO K A S ARC HIT E C T U R E 5
Page 72 and 73: all those express trains hurtling t
Page 74 and 75: that, but philosophyhave you read m
Page 76 and 77: ~n InteruielU lUit~ ~anna~ moc~el-~
Page 78 and 79: A N I N T E R V lEW WIT H HAN N A H
Page 84 and 85: AN INTERVIEW WITH HANNAH MOCKEl-RIE
Page 86 and 87: I ~on't la~e ~oi[e mail The Object
Page 88 and 89: I DON'T TAKE VOICE MAll 75 often di
Page 90 and 91: I DON'T TAKE VOICE MAIL 77 systems
Page 92 and 93: I DON'T TAKE VOICE MAIL 79 screen o
Page 94 and 95: Every day. Day by day. The hours ha
Page 96 and 97: [laiTe-jn-t~e- ~ui l~ing There is n
Page 98 and 99:
C l A IRE· IN· THE· B U I l DIN
Page 100 and 101:
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 142 and 143:
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 150 and 151:
Page 152 and 153:
UN ZIP B LEE D 139 texture of truth
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 172 and 173:
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 178 and 179:
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
Page 202 and 203:
FRO MAN 0 N G 0 I N G I NT E R V lE
Page 204 and 205:
fHplicit ~ersion ~umber ~equired Ye
Page 206 and 207:
HINGE PICTURE 193 Which is to say t
Page 208 and 209:
Generations to a Sunday that holds
Page 210 and 211:
~e2ni~off S ~earness 1. Charles Rez
Page 212 and 213:
REZNIKOFF'S NEARNESS 199 "the pithy
Page 214 and 215:
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
Page 218 and 219:
R E Z N I K 0 F F 's N EAR N E S S
Page 220 and 221:
R E Z N I K 0 F F 's N EAR N E S S
Page 222 and 223:
R E Z N I K 0 FF '5 N EAR N E 5 5 2
Page 224 and 225:
REZNIKOFF'S NEARNESS 211 and unassu
Page 226 and 227:
REZNIKOFF'S NEARNESS 213 everywhere
Page 228 and 229:
REZNIKOFF'S NEARNESS 215 23. Hanukk
Page 230 and 231:
REZNIKOFF'S NEARNESS 217 tributed t
Page 232 and 233:
REZNIKOFF'S NEARNESS 219 34. It's a
Page 234 and 235:
R E Z N I K 0 F F 's N EAR N E S s
Page 236 and 237:
REZNIKOFF'S NEARNESS 223 themes in
Page 238 and 239:
R E Z N I K OFF' 5 N EAR N E 5 5 22
Page 240 and 241:
R E Z N I K 0 F F' S N EAR N E S S
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
Page 254 and 255:
A N AUT a B lOG RAP H I CAL I N T E
Page 256 and 257:
A N AUT 0 B lOG RAP H I CAL I N T E
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 266 and 267:
~e~on~ fmaciation Hemmed in by ocea
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 /
Page 274 and 275:
RIDING'S REASON 261 the concept of
Page 276 and 277:
RID I N G 's REA SON 263 configurat
Page 278 and 279:
RID I N G 's REA SON 265 More natur
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
Page 290 and 291:
POE TRY AND [M ALE? 1 SEX 277 post
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
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
Page 310 and 311:
C LOS ELI S TEN I N G 297 speaks; h
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
Page 316 and 317:
TAP S [I N M EM 0 R I A MER I C MOT
Page 318 and 319:
WAR N I N G - POE TRY ARE A 305 not
Page 320 and 321:
WAR N I N G - POE TRY ARE A 307 whe
Page 322 and 323:
WAR N I N G - POE TRY ARE A 309 lin
Page 324 and 325:
WARNING-POETRY AREA 311 of technolo
Page 326 and 327:
THE REPUBLIC OF REALITY 313 of a de
Page 328 and 329:
THE REPUBLIC OF REALITY 315 to be p
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
show all

My Way_ Speeches and Poems - Charles Bernstein

Create successful ePaper yourself

Delete template?

Save as template?