With the publication of this volume, Lissa Wolsak — who seemingly emerged as a fully-formed poet in the mid-1990s after various other pursuits — emerges for the first time once again…
With the publication of this volume, Lissa Wolsak — who seemingly emerged as a fully-formed poet in the mid-1990s after various other pursuits — emerges for the first time once again. Her work is neither easily classified, nor traceable to a particular school or lineage, but instead continually creates its own unimpeachably evanescent context, independent of thought outside the work itself. “The mirror would do well to reflect further,” demands one of Jean Cocteau’s Orphic “radio” voices. Wolsak’s poetry more than satisfies this strange demand, for the self-reflective moment in her work takes us far beyond fashionable literary recursion, finding again and again a genuinely mysterious interpenetration of awareness, language, and human care. Squeezed Light includes all of Wolsak’s previously published poetry to date, her poetic essay “An Heuristic Prolusion,” an interview with the author, and an Introduction by George Quasha with Charles Stein.
Donald Byrd says of this book: “Laughing Gnosticism is the most ancient of the secret traditions. Its earliest texts were discovered in a cave in the Caucasus in 1927…”
Donald Byrd says of this book: “Laughing Gnosticism is the most ancient of the secret traditions. Its earliest texts were discovered in a cave in the Caucasus in 1927. I have reason to believe that Rasula’s Tabula is based on these ancient texts. The central tenet of Laughing Gnosticism is that Laughter is a divine language which humans continue to use, with more or less adequate syntax and diction, despite the ancient loss of its semantic. Its meditational practices are variously directed toward the recovery of the ancient code.” A first book by the editor of Wch Way magazine.
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.
Before Sartre, before Beckett, before Robbe-Grillet, Maurice Blanchot created the “new novel, ” the ultimate post-modern fiction. Written between 1932 and 1940, Blanchot’s first novel, here brilliantly translated by Robert Lamberton, contains all the remarkable aspects of his famous and perplexing invention, “the ontological narrative”—a tale whose subject is the nature of being itself. This paradoxical work discovers being in the absence of being, mystery in the absence of mystery, both to be searched for limitlessly. As Blanchot launches this endless search in his own masterful way, he transforms the possibilities of the novel. First issued in English in 1973 in a limited edition, this re-issue includes an illuminating essay on translation by Lamberton.
The Unavowable Community is an inquiry into the nature and possibility of community, asking whether there can be a community of individuals that is truly “communal”…
The Unavowable Community is an inquiry into the nature and possibility of community, asking whether there can be a community of individuals that is truly “communal.” The problem, for Blanchot, is that the very terms of an ideal community make an “avowal” of membership in it a violation of the terms themselves. This meditation ranges from the problematic effects of a defect in language to actual historical experiments in community. The latter involves the life and work of George Bataille whose concerns (e.g. “the negative community”) occupy the foreground of Blanchot’s discussion. Taking as his point of departure an essay by French philosopher Jean-Luc Nancy, Blanchot appears once again as one of the most attentive readers of what is truly challenging in French thought. His deep interest in the fiction of Marguerite Duras extends this inquiry to include “The Community of Lovers,” emerging from certain themes in Duras’ recit, The Malady of Death. As Blanchot’s first direct treatment of a subject that has long figured in or behind his work, this small but highly concentrated book stands as an important addition to his own contribution to literary, philosophical, social, and political thought, figuring as it does at the center of the emerging concern for a redefinition of politics and community. Readers of Blanchot know not to expect answers to the great questions that move his thought – rather, to live with the questions at the new level to which they have been raised in his discourse.
The jazz term “riff” is short for “riffle”—“make rough.” In Untam’d Wing: Riffs on Romantic Poetry, scholar/poet Jeffrey Robinson sets out much like a jazz musician to renew a great body of work (say, Miles Davis on George Gershwin)—“to recast,” as he says in the Prefatory Note, “what have become monuments, with all the inertness of passive appreciation that monumentality encourages, into living forms”…
The jazz term “riff” is short for “riffle”—“make rough.” In Untam’d Wing: Riffs on Romantic Poetry, scholar/poet Jeffrey Robinson sets out much like a jazz musician to renew a great body of work (say, Miles Davis on George Gershwin)—“to recast,” as he says in the Prefatory Note, “what have become monuments, with all the inertness of passive appreciation that monumentality encourages, into living forms.” If he “roughs up” some of our long-time favorites, it’s not to revise, and certainly not to improve, but on the contrary to reveal a timeless dimension that is of the very nature of the Romantic: “I would define a ‘romantic’ poem, of whatever vintage, as one that invites its own renewal in every present.” With all the boldness and subtle care of the poets he celebrates, Robinson stakes his “life-long involvement as reader, teacher, and scholar/critic of Romantic poetry” on an equally committed “absorption and belief in the discoveries of modern and contemporary experimental poetry.” Like a true marriage it lays bare both parties.
“Untam’d Wing is a heady conglomeration of poetic intensities and re-visionings, of the Romantic mother lode. Only a poet deeply embedded in and enthralled by this realm could take wild liberties and shape them into a contemporary volume of such curious and inventive range. Jeffrey Robinson is a scholar and has lived inside the Romantic body for decades, and precisely because of this his imagination is highly attuned to further Romantic nuance…. He sheds bright light on meaning and message. He is the scientist/artist finally breaking free of shackles.”
—Anne Waldman, from the foreword
“Useful Knowledge is pleasant and therefore it is very much to be enjoyed,” writes Gertrude Stein in her “Advertisement for this Book”—an apt characterization of the experience of reading it sixty years after its disappearance from print…
Useful Knowledge is pleasant and therefore it is very much to be enjoyed,” writes Gertrude Stein in her “Advertisement for this Book”—an apt characterization of the experience of reading it sixty years after its disappearance from print. Despite her long expatriation, she “always remained” in her words, “firmly born in Allegheny Pennsylvania.” Indeed, physical detachment from her homeland seems only to have deepened her love for the country, a passion very nearly erotic, that blossomed in this private remembrance that is both tender and humorous. War, Woodrow Wilson, Chicago, Sherwood Anderson – such is the range of her intimate concerns. As for the significant questions to which her writings respond: “Wherein Iowa differs from Kansas and Indiana” and “Wherein the South differs from the North,” useful knowledge indeed, when the thought is opened along with the word in these extraordinary prose inventions. Keith Waldrop’s introduction furnishes new insight into the process and development of Stein’s infamous style as always more intricately evolving than is recognized. And Edward Burns provides “useful knowledge about Useful Knowledge,” the kind of information about Stein’s text that we rarely find when we most want it.
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.
Praise for Wordsworth Day by Day
“Boldly flaunting the crossing of genres, Jeffrey Robinson’s Wordsworth Day by Day is literary criticism’s fully present response to that medieval classic and devotional text, the Book of Hours. With stunning scholarship and passion Robinson creates a post-modern breviary on Wordsworth’s poetics that is rigorously meditative and inquiring in its illuminating stroll. A visionary diary, a day by day collaboration with Wordsworthian vitality and the slow grace of that poetic freedom.”—Maureen Owen, author of American Rush.
“Jeffrey Robinson’s extraordinary book goes way past criticism ‘as we know it,’ to offer a reading-through (sometimes, in Cage’s phrase, a writing-through) of Wordsworth & other arch Romantics. In the manner of a spiritual diary he sets out to talk – on a day to day basis & in the presence of [Wordsworth’s] poems – of what he sees in them & often, beautifully, to transform or, as he says, deform them. More than that, as in his other recent work combining Romanticism & the experimental modernism to which it leads, Robinson brings Wordsworth into the present, makes of him not only his William Wordsworth but ours as well.”—Jerome Rothenberg, author of Khurbn and A Paradise of Poets
This book is one of the few clear and still possible manifestos of our time…
This book is one of the few clear and still possible manifestos of our time, composed by Ed Sanders (born August 17, 1939), American poet, singer, social activist, environmentalist, author and publisher.