My Way_ Speeches and Poems - Charles Bernstein

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THE BOO K A S ARC HIT E C T U R E 57 the greatest interest in. Yet my own temptation is to allow for maximum contrast from one poem to another, that by means of this conflict of modes ) can bring into greater audibility musical or aesthetic or emotional preoccupations not otherwise articulable. Sometimes) think of a book as a "group" show; but) want the formal divergences among the poems to produce an "inner" space that seems impossible to evoke if there is too much uniformity among the elements. Organizing a book is something like constructing a durational tunnel that a reader can ride through, like riding through a multichambered House of Horrors at an amusement park. The creation of durational spaces in a poem-great but empty halls, narrow corridors, closets, enclosed pools, formal picture galleries, off and on ramps, pulleys and trap doors between levels-produces an internal or negative (in the sense of inverted or inner) architecture.-You are entering a building through a dark and musty subbasement; proceeding a few steps, you trip onto an elevator platform and are whisked to what is something like the 23rd floor, where you are stepping out into an abandoned soundstage for a 1930 production of a Fenimore Cooper story; sighting a ladder, you climb up a flight onto a floor filled with hundreds of irregularly shaped cubicles populated by women dressed as Matadors ... Against the Romantic idea of poems as transport, ) prefer to imagine poems as spatializations and interiorizations-blueprints of a world ) live near to but have yet to occupy fully. Building impossible spaces in which to roam, unhinged from the contingent necessities of durability, poems and the books they make eclipse stasis in their insatiable desire to dwell inside the pleats and folds of language.
~ear fir. fanellL I saw your picture in the 79th street station. You said you'd be interested in any comments I might have on the condition of the station. Mr. Fanelli, there is a lot of debris in the 79th street station that makes it unpleasant to wait in for more than a few minutes. The station could use a paint job and maybe new speakers so you could understand the delay announcements that are always being broadcast. Mr. Fanelli-there are a lot of people sleeping in the 79th street station & it makes me sad to think they have no home to go to. Mr. Fanelli, do you think you could find a more comfortable place for them to rest? It's pretty noisy in the subway, especially with
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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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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 48 and 49: SOL I DAR I T Y 1ST HEN A M E 35 po
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 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
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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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~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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