Archiv der Kategorie: USA

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92. Rilke Prize

The University of North Texas announced its fourth Rilke Prize winner today. The Rilke Prize is named for the German poet, Rainier [sic] Maria Rilke, and the $10,000 award is unusual in that it’s not a beginner’s prize or a lifetime achievement award. It’s given to a mid-career poet for a book of exceptional quality.

Mark Wunderlich, who teaches at Bennington College, won the Rilke for his new book The Earth Avails. Earlier this year in Vermont for the Bookstock Literary Festival (video, below), he explained many of the poems were inspired by a 19th-century prayer book he found in his family home.

“I started reading it,” he said, “and I was very interested in the combined tone of praise, supplication and complaint. And I was quite moved by the occasions of them. Not being a believer myself, I still found the world that they called up to be a vivid one.”

67. Komponistinnen

Von den europäischen Wurzeln der US-amerikanischen Lyrikerin und musikdramatisch bedeutenden Komponistin Mira Josefowitz Spector ist bei einem Blick in ihren Werkkatalog auf den ersten Blick wenig übrig geblieben. Sie studierte an der Mannes School for New Music und der Juilliard School of Music und hob in den 1970er Jahren das Ensemble The Aviva Players aus der Taufe, das sich unter ihrer Leitung bis heute der Aufführung von weiblicher Vokal- und Kammermusik  des zwölften bis einundzwanzigsten Jahrhunderts verschrieb.  (…)

Die mit weltweit bekannten Künstlern zusammenwirkende Formation The Aviva Players, in der übrigens auch mindestens ein Mann spielt, trat seither mit Werken (damals) vergessener hochbegabter Komponistinnen  auf. Zu ihnen zählen neben Hildegard von Bingen, der Prinzessin Amalia von Preußen, Germaine Tailleferre, Fanny Hensel, Nadia Boulanger, Amy Beach und Ruth Crawford Seeger auch nahezu unbekannte Namen wie Mana-Zucca, Marcelle de Manziarly oder Cécile Chaminade. (…)

Popularität erlangte sie mit den Opern Lady of the Castle nach einem Schauspiel der israelischen Dramatikerin Lea Goldberg, Passion of Lizzie Borden nach Gedichten von Ruth Whitman und einem Porträt über die Schöpferin des Frankenstein-Romans Mary Shelley auf ein Libretto von Colette Inez und mit der Mini-Oper Casino nach eigenen Texten. Im Bereich von Kunstlied und Kammermusik entstanden Three Songs for BaritoneTwo Bedtime Songs und Trois Chansons Francaises auf der Basis von eigener Lyrik und derjenigen von Inez und Phyllis McGinley oder das Trio Voices für Flöte, Geige und Klavier. / Hanns-Peter Mederer, Amusio

57. Gestorben

Der amerikanische Dichter Philipp Levine starb heute im Alter von 87 Jahren. Mit 14 Jahren, während der Großen Depression, begann er in Fabriken zu arbeiten.  In freien Stunden schrieb er Gedichte, “um den Stimmlosen eine Stimme zu geben”, wie er dem Detroit Magazine sagte. Später beschloß er zu studieren und lernte die moderne Lyrik kennen – “And I loved it. Loved it.” An der Universität Iowa studierte er zusammen mit Robert Lowell und John Berryman, letzteren nannte er “einen großen Mentor”. Von 1958 bis 1992 lehrte er an der California State University in Fresno. Sein erster Gedichtband erschien 1963: “On the Edge” (Stone Wall Press). Er wurde u.a. mit dem Pulitzerpreis (1995), dem National Book Award for Poetry (“What Work Is,” 1991), dem Ruth Lilly Poetry Prize (1987) and dem Wallace Stevens Award der Academy of American Poets (2013) geehrt. 2011/12 war er Poet laureate der USA.

San Francisco Gate

Philip Levine was one of the leading poetic voices of his generation, “a large, ironic Whitman of the industrial heartland,” according to Edward Hirsch. (…)

Several critics faulted Levine for his reliance on narrative descriptions of realistic situations. However, Thomas Hackett, in his Village Voice Literary Supplement review of A Walk with Tom Jefferson (1988), argued that, rather than being a weakness, Levine’s “strength is the declarative, practically journalistic sentence. He is most visual and precise when he roots his voice in hard, earthy nouns.” / Poetry Foundation

49. American Life in Poetry: Column 514

BY TED KOOSER, U.S. POET LAUREATE

We describe people we admire by throwing around words like “indomitable spirit,” but here’s an example and a proof by Don Welch, a Nebraska poet.

Shuffling Out Toward Morning

After an hour in the infusion lab,
Taxol dripping into her,
fighting her cancer;

after sitting nauseous
next to a man
vomiting into a Pepsi cup,

she rose, palming the wall,
stooping only to pick up
a pen a doctor had dropped,

giving it back to the doctor
who had slipped it poorly
into his coat.

American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2013 by Don Welch, whose most recent book of poems is Gnomes, (Stephen F. Austin Univ. Press, 2013). Poem reprinted by permission of Don Welch. Introduction copyright © 2015 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.

48. Artists and Poets

Von 12.02. bis 12.04. 2015 in der Secession (Wien)

Ugo Rondinone ist nicht nur einer der international renommiertesten zeitgenössischen Schweizer Künstler, er ist zudem in den letzten Jahren überaus erfolgreich als Kurator in Erscheinung getreten, wobei er seine kuratorischen Projekte in erster Linie als Erweiterung seiner künstlerischen Praxis versteht.

Artists and Poets ist nach the third mind (Palais de Tokyo, Paris, 2007) und the spirit level (Gladstone Gallery, New York, 2011) die dritte Ausstellung, die Rondinone im weitesten Sinne der Beziehung zwischen Kunst und Lyrik widmet und mit der er seiner Überzeugung von der spirituellen und transzen-dentalen Macht der Kunst Ausdruck verleiht. Indem er die Begriffe “Künstler” und “Dichter” mit großer Selbstverständlichkeit zusammenbringt, betont Rondinone das Gemeinsame ihrer beiden Tätigkeitsfelder, getragen von dem festen Glauben, dass schöpferische Leistung – sei es in Form eines Gedichts, einer Skulptur oder eines Gemäldes – etwas im Menschen bewirken kann.

(Fast) vergeblich sucht man allerdings in Artists and Poets eine “wörtliche” Verbindung zum Titel. Mit Ausnahme von John Giornos Dial-A-Poem gibt es in der Ausstellung weder Werke Konkreter Poesie noch andere sprach- und textbezogene Arbeiten. Rondinone postuliert einmal mehr, dass Kunstwerke – wie Gedichte – gefühlt und intuitiv verstanden werden können und keiner vorgefertigten Interpretation bedürfen.

Jede Erklärung reduziert das Gedicht und das Kunstwerk auf das Sagbare, wo jedes Gedicht und jedes Kunstwerk grundsätzlich das Unsagbare umfasst.

Mit Werken von Justin Matherly, Bob Law, Michaela Eichwald, Giorgio Griffa, Fritz Panzer, Gerwald Rockenschaub, Heimo Zobernig, Donald Evans, Andra Ursuta, Michael Williams, Fritz Hartlauer, Tamuna Sirbiladze, Andrew Lord, Gustav Klimt und John Giorno.

(…)

Mit Artists and Poets bezieht sich Rondinone auch auf einen lokalen Kontext, hat er doch von 1986 bis 1990 an der Hochschule für angewandte Kunst in Wien studiert und daher ein besonderes Verhältnis zur Stadt. In diesem Sinne wird auch die Poesieinstallation Dial-A-Poem des US-amerikanischen Performancekünstlers und Poeten John Giorno für die Ausstellung adaptiert – in Kooperation mit der Wiener Schule für Dichtung wird dieser besondere „Telefonservice“ mit 30 Gedichten österreichischer AutorInnen bespielt. Dial-A-Poem ist ab dem ersten Ausstellungstag über die Wiener Festnetznummer +43 (0)1 585 04 33 abrufbar.

/ Österreich Journal

Allgemeine Informationen:
http://www.secession.at

43. Monolingualism is ideological

Increasingly I write out of a sense that language, any language, is multiple, poly. Americans don’t speak and write English. They speak and write a language comprised of multiple other languages, creoles, pidgins. We think of English as primarily composed of Germanic and Latin languages, but what about Arabic, which entered—via various power matrices, de- and re-coloniziations—numerous Romance languages (and Latin itself). Do we already always speak and write Arabic? There are hundreds of Arabic words that we use. Candy. Tangerine. Mattress. Zero. These poems take as their point of departure English words of clear Arabic origin. Algebra. Garble. Spinach. Ream. Monolingualism is ideological; it obscures the facts. Sugar. Popinjay. Tuna. Gerbil. / Christian Hawkey, New Museum

41. Lakota poet

Lydia Whirlwind Soldier, a poet who learned the beauty of the Lakota language from listening to tribal elders as a child, said she writes in both Lakota and English to keep the language alive. But she also writes essays in English to speak to the mainstream culture.

(…) “If you understand the Lakota language, it’s a poetic language,” she said. “I’ve always been amazed at the way they were able to tell stories. I loved to hear the old men get up and talk. Their speeches were beautiful.”

And the message, quite apart from what they said, was that a young Lakota girl, too, could learn to use the Lakota language that way – it was her instrument.

Today, as a poet in two languages, Lydia Whirlwind Soldier realizes that having deep roots in the Lakota language has paid off in more ways than just giving her a deeper appreciation for her own culture. It has also helped her shape better poems in English. / Lance Nixon, Capital Journal

39. American Life in Poetry: Column 513

BY TED KOOSER, U.S. POET LAUREATE

Kwame Dawes is the editor of Prairie Schooner and one of my colleagues at the University of Nebraska. Had I never had the privilege of getting to know him I still would have loved the following poem, for its clear and matter-of-fact account of a sudden loss.

Coffee Break

It was Christmastime,
the balloons needed blowing,
and so in the evening
we sat together to blow
balloons and tell jokes,
and the cool air off the hills
made me think of coffee,
so I said, “Coffee would be nice,”
and he said, “Yes, coffee
would be nice,” and smiled
as his thin fingers pulled
the balloons from the plastic bags;
so I went for coffee,
and it takes a few minutes
to make the coffee
and I did not know
if he wanted cow’s milk
or condensed milk,
and when I came out
to ask him, he was gone,
just like that, in the time
it took me to think,
cow’s milk or condensed;
the balloons sat lightly
on his still lap.

American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2013 by Kwame Dawes, “Coffee Break,” from Duppy Conqueror: New and Selected Poems, (Copper Canyon Press, 2013). Poem reprinted by permission of Kwame Dawes and the publisher. Introduction copyright © 2015 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.

24. Geehrt

Two major poets of the African-American experience — Maya Angelou and Nikki Giovanni — will be honored this week as part the program And Still I Rise: A Celebration of African-American Artists, presented by the OperaTunity Foundation.

A variety of events combining art, poetry and music are scheduled. The title and all performances are dedicated to the memory of Maya Angelou, the towering poet and writer who died last year. Angelou was best-known for the chronicle of her youth, I Know Why the Caged Bird Sings.

The week’s key event will be a Friday concert featuring Nikki Giovanni, who has been a leading African-American poet, writer and activist since her career began in 1967. Giovanni has written numerous volumes of poetry and children’s books and made several recordings. / Free Times

6. American Life in Poetry: Column 512

BY TED KOOSER, U.S. POET LAUREATE

I’ve read lots of poems about the loss of beloved pets, but this one by J.T. Ledbetter, who lives in California, is an especially fine and sensitive one.

Elegy for Blue

Someone must have seen an old dog
dragging its broken body through
the wet grass;
someone should have known it was lost,
drinking from the old well, then lifting
its head to the wind off the bottoms,
and someone might have wanted that dog
trailing its legs along the ground
like vines sliding up the creek
searching for sun;
but they were not there when the dog
wandered through Turley’s Woods looking
for food and stopped beneath the thorn trees
and wrapped its tail around its nose
until it was covered by falling leaves
that piled up and up
until there was no lost dog at all
to hear the distant voice calling
through the timber,
only a tired heart breathing slower,
and breath, soft as mist, above the leaves.

American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2012 by J. T. Ledbetter, from his most recent book of poems, Old and Lost Rivers, Lost Horse Press, 2012. Poem reprinted by permission of J. T. Ledbetter and the publisher. Introduction copyright © 2015 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.

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