George Quasha

George Quasha is the co-founder of Barrytown/Station Hill Press. He is a poet and artist who works across mediums to explore principles in common within language, sculpture, drawing, video, sound, installation, and performance. His books of poetry include Somapoetics, Giving the Lily Back Her Hands, and [with Chie Hasegawa] Ainu Dreams. He is also the co-editor of America a Prophecy [with Jerome Rothenberg], Open Poetry [with Ronald Gross], An Active Anthology [with Susan Quasha], and The Station Hill Blanchot Reader [with Charles Stein]. His most recent book is Axial Stones: An Art of Precarious Balance. His awards include a National Endowment for the Arts Fellowship in poetry (1975), and a John Simon Guggenheim Foundation Fellowship in video art (2006).

For more on Quasha, visit his site.

Ainu Dreams

George Quasha

In Ainu Dreams, poet George Quasha and buun, a Japanese artist living in America, collaborate in poetically manifesting the artist’s richly articulated dream-life. These eighty-odd poems embody an ever-opening cosmos of curious image, surprising narrative, and enigmatic “teaching”...

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George Quasha

In Ainu Dreams, poet George Quasha and buun, a Japanese artist living in America, collaborate in poetically manifesting the artist’s richly articulated dream-life. These eighty-odd poems embody an ever-opening cosmos of curious image, surprising narrative, and enigmatic “teaching” in a language no one could have dreamed up alone. Structurally intriguing poems reveal the innards of the dreams themselves, yet always speak directly and readably, sometimes addressed to a second person (the poet? the reader?). The poems and even reading itself seem to be dreaming.


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America, A Prophecy

Jerome Rothenberg and George Quasha

Celebrated, controversial, influential, this highly unconventional and ground-breaking anthology of American poetry was widely read and taught throughout the 70s and early 80s. Treating the visionary and the experimental as essential American values,  America, A Prophecy maps...

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Jerome Rothenberg and George Quasha

Celebrated, controversial, influential, this highly unconventional and ground-breaking anthology of American poetry was widely read and taught throughout the 70s and early 80s. Treating the visionary and the experimental as essential American values, _America, A Prophecy_ maps diverse poetic forms and literary (and nonliterary) milieus, bringing together poets from all styles and schools, men and women equally; innovative poets (Beats, Black Mountain, etc.) academics, Native Americans, Blacks, Asians, Hispanics. This pre-PC multi-cultural perspective does not push ethnic difference or sameness but explores deeply common concerns and equally valid visions. True to its Blakean title, _America, A Prophecy_ is prophetic of openness to unfamiliar voices and new paths of the poetic art up to 1973 as well as being a timeless primer of poetic possibility.


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Awareness Inside Language

George Quasha in conversation with Thomas Fink

A Matrices Edition

Awareness Inside Language is the most comprehensive discussion of poet-artist George Quasha’s “axial poetics” as it plays out in his work of the past twenty years, called “preverbs" ...

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George Quasha in conversation with Thomas Fink

A Matrices Edition

Awareness Inside Language is the most comprehensive discussion of poet-artist George Quasha’s “axial poetics” as it plays out in his work of the past twenty years, called “preverbs,” represented in four published volumes: Verbal Paradise, Things Done for Themselves, The Daimon of the Moment, and Glossodelia Attract. In the form of an interview conducted by poet Thomas Fink, it addresses how apparently difficult poetry teaches new ways of reading and thinking.


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Gary Hill: HanD HearD/Liminal Objects

George Quasha and Charles Stein

This essay, discussing a two-part installation at Galerie des Archives in Paris by the internationally celebrated artist, Gary Hill, explores the enigmatic nature of the work of art as an object and of objects in general, as such issues pertain to Hill's work and these installations in particular.

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George Quasha and Charles Stein

This essay, discussing a two-part installation at Galerie des Archives in Paris by the internationally celebrated artist, Gary Hill, explores the enigmatic nature of the work of art as an object and of objects in general, as such issues pertain to Hill's work and these installations in particular. The text is by two well-known poet/artists who have a long history of association and collaboration with Gary Hill. This book is handsomely illustrated with photographs of the installation and other relevant works by Hill and is presented in a bilingual, French-English edition.

Excerpts from the text:

"There are works of art that require initiation. This does not mean that they require explanation, special consensus, or any other prescriptive bearing. It does mean that one must discover an _appropriate mode of entry_ which is more than informational. This can involve radical reorientation, as in the case of _HanD HearD_, which directly (but non-coercively) introduces us to the posture of awareness appropriate to our participation in the piece."

"Considering more particularly the piece _HanD HearD_, we discover that its way of being a text imposes nothing on the mind, yet it offers an _image_ (a hand in front of a person's face) as a possible _posture_ of awareness. And because the "text" has no "content" other than this posture, it grants the participant _direct access_ from the beginning."


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Giving the Lily Back Her Hands

This text is a psychotypographic romance caught listening to the voices inside the voice from which it issues. It mates willingly with its Reader, releases quickness & lightness in the marriage of syntax, then returns to...

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This text is a psychotypographic romance caught listening to the voices inside the voice from which it issues. It mates willingly with its Reader, releases quickness & lightness in the marriage of syntax, then returns to the underground where Lily & Hands receive their power to discourse.



Glossodelia Attract

George Quasha

If William Blake’s “Proverbs of Hell” are poetry, then George Quasha’s preverbs are like a close cousin. Its core question is: can poetry say the unsayable? Preverbs wonder: what is poetry? A well established poetic tradition both modern and post-modern—some call it experimental—starts its poetics with: poetry is not what you think it is...

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George Quasha

If William Blake’s “Proverbs of Hell” are poetry, then George Quasha’s preverbs are like a close cousin. Its core question is: can poetry say the unsayable? Preverbs wonder: what is poetry? A well established poetic tradition both modern and post-modern—some call it experimental—starts its poetics with: poetry is not what you think it is. Its work is journeying inside language, as if passing through a distant country or else another reality. It conveys news of alternate dimensions showing through in the here-and-now, embedded inside our everyday thoughts and speaking.


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Narrative Unbound

Foreword by George Quasha

Narrative Unbound is the first full-scale interpretation of the verbal text of Blake’s most complex long poetic prophecy, “The Four Zoas"...

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Donald Ault
Foreword by George Quasha

Narrative Unbound is the first full-scale interpretation of the verbal text of Blake’s most complex long poetic prophecy, “The Four Zoas.” Never engraved or published in the poet/artist’s lifetime, the poem remains in a single manuscript, apparently unfinished and heavily revised, yet widely celebrated as one of Blake’s most powerful narrative works. Ault challenges the view that the poem is intrinsically incomplete and flawed, arguing instead that the famous difficulties of the text are aspects of Blake’s transformative narrative strategies. By respecting the integrity of Blake’s work, taking every written mark on the page as potentially functional, Ault shows how the intricate interweaving of narrative patterns and interruptions are instrumental to conscious reading. The poetic intent is nothing less than a complete renovation of the reading experience, the potential of which is the realization of what Blake has called “Four-fold vision.” Ault’s approach serves as a guide both to reading “The Four Zoas” and to participating in a radical poetic method. Narrative Unbound engages in the inquiry of contemporary poetics: how is it that altered processes of reading can restructure consciousness?

“This book will be a great delight—and help - to anyone deep in Blake studies; a comfort and aid to the beginning scholar.”-David V. Erdman, author of Blake: Prophet Against Empire and editor of The Complete Poetry and Prose of William Blake

“Donald Ault is probably the most innovative Blake critic in the country.” – Jerome J. McGann, author of The Romantic Ideology

“Ault’s marginal glosses and illuminating diagrams evoke a sense of respect for dedication to the book as artifact…the book…is a powerful picture of reading.” – Nelson Hilton, author of Literal Imagination: Blake’s Vision of Words


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Tall Ships

You enter a long, dark corridor. Indistinct luminous shapes seem to move in place on the walls. Then a human figure rises, walks towards you, stands and gazes at you, becomes almost intimate with you before turning back whence it came...

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George Quasha and Charles Stein

You enter a long, dark corridor. Indistinct luminous shapes seem to move in place on the walls. Then a human figure rises, walks towards you, stands and gazes at you, becomes almost intimate with you before turning back whence it came. In this award-winning interactive installation created by video projection, world-renowned artist Gary Hill presents an underworld-like journey from which each visitor returns to daylight somehow transformed. The second book in an ongoing series of the Quasha & Stein dialogue on Gary Hill leads you on an initiatory journey that parallels the experience of the installation itself. The book is beautifully illustrated in duotone to give a living sense of the actual installation as it appeared in the Whitney Museum (New York) and many other museums throughout the US and Europe.


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Viewer

Haunting and strangely provocative new installations by artist Gary Hill, celebrated worldwide in major museums and galleries, are introduced through a highly readable essay by two of the artist’s long-time poet/artist collaborators...

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George Quasha and Charles Stein

Haunting and strangely provocative new installations by artist Gary Hill, celebrated worldwide in major museums and galleries, are introduced through a highly readable essay by two of the artist’s long-time poet/artist collaborators. In a sort of “lineup,” seventeen day-workers, full-size, stare at you from the wall, eerily present by the magic of video-projection (Viewer). A solitary Native American stares you in the eyes, while he stares at himself from an adjacent wall—then the projections switch position: the watcher becomes the watched and the watched becomes the watcher (Standing Apart). This third in an ongoing series of the Quasha & Stein dialogue on Gary Hill is beautifully illustrated in full color to give a living sense of the actual installations.


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