My Way_ Speeches and Poems - Charles Bernstein

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that, but philosophyhave you read much Hannah Arendt or do you prefer a more ideological perspective? I think if I understood where you're coming from, Mr. Fanelli, I could write to you more cogently, more persuasively. Mr. Fanelli, do you get out of the city at all-I mean like up to Bear Mountain or out to Montauk? I mean do you notice how unpleasant the air is in the 79th street station-that we could use some cooling or air-filtering system down there? Mr. Fanelli, do you think it's possible we could get together <strong>and</strong> talk about these things in person? There are a few other points I'd like to go over with you if I could get the chance. Things I'd like to talk to you about but that I'd be reluctant to put down on paper. Mr. Fanelli, I haven't been feeling very good lately <strong>and</strong> I thought meeting with you face to face might change my mood, might put DEAR MR. FANELLI 61
62 DEAR MR. FANELLI me into a new frame of mind. Maybe we could have lunch? Or maybe after work? Think about it, Mr. Fanelli.
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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
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 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 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 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
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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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