CONTACT WITH POETS

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(1966) and the people mover: a demonstration poem (1978) assert her voice as antonio bessa argues not by simply emulating [her male counterparts], but by bringing up themes and concerns close to her own life: the flowers in her garden […] her husband […] and her children. but the themes and concerns that bessa asserts sadly seem to reify sexist gender roles relegating women to the subjects of flowers spousal dedication and child-rearing concrete poet haroldo de campos posited concrete poetry as a notion of literature not as craftsmanship but [...] as an industrial process where the poem is a prototype rather than the typical handiwork of artistic artistry this formulation categorizes solts work as craftsmanship and handiwork isolated from the industry of male concrete poets tellingly only 4 of the 80 contributors to concrete poetry: a world view are women including solt * contemporary concrete poets fiona banner jen bervin and erica baum work against the traditional notions of feminine writing and trouble the line between craftsmanship handiwork and industry on friday october 11 2012 patrons of denvers museum of contemporary art attended a moment of sartorial calm before the weekends festivities began—the vernissage of postscript: writing after conceptual art the largest exhibit ever staged at the MCA postscript: writing after conceptual art was the first major exhibition of conceptual writing—the 21st centurys first truly international poetic form—and text-based art and included internationally-renowned text artists and writers building upon the tenets and dicta of conceptual art and con- 15
crete poetry that evening patrons and members of the MCA were granted a private early viewing of postscript: writing after conceptual art (which toured to torontos illustrious power plant contemporary art gallery in 2013 and michigan state universitys prestigious eli and edythe broad art museum in 2014) a few pieces were still being unpacked and the final touches were being placed on the installation but the feeling in the air was one of expectation and excitement curators andrea andersson and nora burnett abrams contextualized the exhibition explained their curatorial mandate and hosted a guided tour punctuated by impromptu presentations by several participants in the exhibition as andersson and abrams guided us through the exhibition guests had their first opportunity to see exemplary work by fiona banner jen bervin and erica baum turner prize nominee fiona banner aided by several assistants was still constructing her epic 1066 and thus took only a moment away from the exhausting process to speak to the eager audience 1066 builds upon banners previous texts top gun (1993) and the nam pieces she considers still-films top gun now in the tate moderns permanent collection is a handwritten subjective account of the cinematic action in the tom cruise film of the same name the nam (published in a now exceedingly-rare edition by frith street books in 1997 but thankfully excerpted in craig dworkin and kenneth goldsmiths against expression: an anthology of conceptual writing) extends banners textual practice by subjectively describing the action of several hollywood films about the vietnam war over the course of a thousand pages banner writes through apocalypse now the deer hunter hamburger hill full metal jacket born on the fourth of july and platoon 16
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Page 5 and 6: if p then q classics 41 Fulford Str
Page 8: For Madeleine
Page 12 and 13: That’s not writing “That’s no
Page 14 and 15: transcend transcribe transfigure tr
Page 18 and 19: creating an inundation of descripti
Page 20 and 21: face. another takes one in the hand
Page 22 and 23: and correspondence bervins work in
Page 24 and 25: gysin and burroughs collaborations
Page 26 and 27: * judith copithorne has published o
Page 28 and 29: ties with middle english in the gen
Page 30 and 31: how does it sound? 1. why would one
Page 32 and 33: tical analysis content is subsumed
Page 34 and 35: populations around public squares w
Page 36 and 37: pageant, these rows of lines or vin
Page 38 and 39: [...] when i let the letters shift
Page 40 and 41: juring of texts within texts czechs
Page 42 and 43: these contemporary concrete and con
Page 44 and 45: codes and QR Codes to expedite the
Page 46 and 47: a little-known second line (as incl
Page 48 and 49: script is no longer the fictional o
Page 50 and 51: Poetic Representations of the Holoc
Page 52 and 53: have picked any period because the
Page 54 and 55: transcript is a collection of page
Page 56 and 57: ments which eerily reflect Bäcker
Page 58 and 59: You’re out of Excuses 17 years ag
Page 60 and 61: Type Cast: Darren Wershler Can’t
Page 62 and 63: we are blinded to the media technol
Page 64 and 65: Visuality and Conceptualism Instead
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ping. Over a year I mapped the occu
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Auster’s 1986 novella Ghosts. Wri
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populace once a month. Each month t
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duced by stripping away all sense o
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focuses on the geographic layout of
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lock of assigned colour. The viewer
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With now we are friends Fitterman h
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as they may be are not only constan
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the same prohibitions—moral, alim
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not. At every moment, a continuous
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a sentence overheard by a witness
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The Text Festival: An Interview wit
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silence what about the visual art c
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highpoint was the headline gig with
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and text function as objects on dis
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materiality, and it’s quite liber
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language from myriad sources snaggi
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Having said all that, I think there
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the categories themselves are a bit
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Simpson: I think the difference may
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ly, I’ve been writing almost excl
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head ... so then, what lines are ap
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sistent publisher to include full c
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lations and so on) that we refer to
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technologies and tools. I do worry
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useful affinity between the politic
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Acknowledgements These essays, in v
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_____. Draft Notation. New York: Gr
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Perloff, Marjorie. “Afterword.”
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v
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CONTACT WITH POETS

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