Image Credit: Susan Bee, Anywhere Out of the World, (2019), 24″ x 18″, 30” x 24”, oil on linen. Courtesy of the artist.
June 24
Every once in a while well maybe not every when the wind is especially fierce there’s a rawness without sorrow or wound, shouted into storm, the low the high the good the bad. Well maybe not bad but it feels that way, like a slap across the face or piercing glance and then you realize not at you, but it might as well have been not at you but, like they say, slappers slap at chimeras, sailors sail to where they can’t be found, though the bluster’s raised and the sea storm howls and the raiders go back to their raids, swapping ships, go they, back to ruin and back to wreck, till you’d hardly find a dry eye in the sink or a ring around the pokey.
Author: Norman Fischer Norman Fischer is a poet and Zen Buddhist priest. From 1995-2000 he was co-abbot of the San Francisco Zen Center. His recent books are The World Could Be Otherwise: Imagination and the Bodhisattva Path and Experience: Thinking, Writing, Language, and Religion (University of Alabama Press). His recent poetry books include Magnolias Not Enough and any would be if. For more information >
Charles Bernstein, Donald T. Regan Professor of English and Comparative Literature (emeritus), taught poetry and poetics, with an emphasis on modernist and contemporary art, aesthetics, and performance. His web CV links to poems, essays, and books. He retired from Penn on June 30, 2019.
Bernstein has published five collections of essays — Pitch of Poetry (Chicago, 2016), Attack of the Difficult Poems: Essays and Inventions (Chicago, 2011), My Way: Speeches and Poems (Chicago, 1999), A Poetics (Harvard, 1992), and Content’s Dream: Essays 1975-1984. His books of poetry include Near/Miss (Oct. 2018), Recalculating (Chicago, 2013), All the Whiskey in Heaven: Selected Poems (Farrar, Straus and Giroux), Girly Man (Chicago, 2006), With Strings (Chicago, 2001), and Republics of Reality: 1975 – 1995 (Sun & Moon, 2000). His libretto Shadowtime, for composer Brian Ferneyhough, was published in 2005 by Green Integer; it was performed as part of the 2005 Lincoln Center Festival. Bernstein is the editor of several collections, including: American Poetry after 1975 (Duke University Press / special issue of boundary, 2009), Close Listening: Poetry and the Performed Word (Oxford, 1999), The Politics of Poetic Form: Poetry and Public Policy (Roof, 1990), and the poetics magazine L=A=N=G=U=A=G=E, whose first issue was published in 1978. He is editor of the Electronic Poetry Center and co-director (with Al Flireis) of PennSound.
He has collaborated with painters Susan Bee, Mimi Gross, Amy Sillman, Francie Shaw, and Richard Tuttle on several artist’s books and projects. In 2001, he curated Poetry Plastique, with Jay Sanders, a show of visual and sculptural poetry at the Marianne Boesky Gallery in New York. He has written libretti for Ben Yarmolinsky, Anne LeBarron, Dean Drummond, and Feryneyhough.
Bernstein, who was born in 1950, grew up on the Upper West Side of Manhattan and attended the Bronx High School of Science. He graduated from Harvard College, after which he worked for many years as a freelance medical/healthcare writer. From 1989 to 2003, he taught at the State University of New York at Buffalo, where he was co-founder and Director of the Poetics Program and a SUNY Distinguished Professor. He has been the recipient of fellowships from the Guggenheim Foundation, the New York Foundation for the Arts, and the National Endowment for the Arts, and of the Roy Harvey Pearce/Archive for New Poetry Prize of the University of California, San Diego; for lifetime contribution to poetry and scholarship. In 2006 he was elected a Fellow of the American Academy of Arts and Sciences. In 2015 he was awarded the Münster Prize for International Poetry and the Janus Pannnious Grand Prize for Poetry. In 2019, he received the Bollingen Prize for American Poetry, for lifetime achievement and Near/Miss.
