Kategorie: USA

73. Gestorben

Ein großer Dichter und Humanist ist gestorben – der Dichter, Schriftsteller, Essayist und Lehrer Gilbert Desmée. Er starb am vorigen Sonnabend in Ohio in den USA, wo er sich zusammen mit seiner Frau, der Bildhauerin Maria Desmée, aufhielt.

Gilbert Desmée wurde am 29.1. 1951 in Suresnes (Hauts-de-Seine) geboren. Er war Präsident des Schriftstellerverbands in der Picardie und der Kommission Literarisches Leben des Centre régional du Livre en Picardie (CR2L).

Er veröffentlichte ein Dutzend Gedichtbände u.a. bei L’Arbre à Parole, éditions Rencontres, Corps Puce sowie Essays. / Courrier Picard

Weitere Todesfälle der letzten Wochen:

 

71. Lyrik am Bildschirm?

Im Kampf der Titanen zwischen den gedruckten und den elektronischen Büchern um die Vorherrschaft in der Literatur gab es Nischen, welche ich uneinnehmbar für die Newcomer hielt. Man kann Börsenberichte auf dem Bildschirm lesen, Zeitungen und vor allem auch ganz dicke Romane, die empfindliche Sehnenscheiden entzünden. Aber Lyrik? Nein!

Dachten wir vom Klub der zarten Dichter im Salon des Gegengiftes. Jetzt aber hören wir (woher sonst als aus den USA?), dass Gedichtbände als E-Books unglaubliche Steigerungsraten erzielen. Noch vor sieben Jahren publizierten die Verlage dort nur 200elektronische Bände mit Poemen. 2013 waren es bereits zehnmal so viel. Bei insgesamt 10.000 Lyrik-Büchern ist das wirklich eine beachtliche Zahl. / Norbert Mayer, Die Presse

68. Charles Bernstein Papers

The Beinecke Library is delighted to announce the acquisition of the Charles Bernstein Papers; the collection will be available to researchers in 2015.
Poet and scholar Charles Bernstein has long been a force in American letters. The author of dozens of books, in the 1970s Bernstein co-founded the influential journal L=A=N=G=U=A=G=E. He is the co-founder and co-editor, with Al Filreis, of PennSound; with Loss Pequenño Glazier, he is founder of The Electronic Poetry Center.
Bernstein’s many books of poetry include Recalculating (2012), All the Whiskey in Heaven: Selected Poems (2010), Girly Man (2006), With Strings(2001), Republics of Reality: 1975-1995 (2000), Dark City (1994), Rough Trades (1991), The Nude Formalism (1989), Stigma (1981), Legend (with Bruce Andrews, Steve McCaffery, Ron Silliman, Ray DiPalma, 1980), andParsing (1976). He is also the author of books of essays, including: My Way: Speeches and Poems (1999), A Poetics (1992), and Content’s Dream: Essays 1975-1984 (1986). He has edited many anthologies of poetry and poetics including Close Listening: Poetry and the Performed Word (1998) and The L=A=N=G=U=A=G=E Book (1984, with Bruce Andrews). Bernstein has made many works in collaboration with artists and musicians, including several operas. His collaborations with composer Ben Yarmolinsky, have been collected in Blind Witness: Three American Operas (2008). Bernstein also collaborated with composer Brian Ferneyhough on Shadowtime, an opera about the life and work of Walter Benjamin.
Elected to the fellowship of the American Academy of Arts & Sciences in 2006, Bernstein has received grants from the Guggenheim Foundation and the National Endowment for the Arts. He is presently Donald T. Regan Professor of English and Comparative Literature at the University of Pennsylvania.
The Charles Bernstein Papers includes manuscripts and typescripts of poems, essays, and other writings; notebooks; correspondence; materials related to the Poetics Program at SUNY Buffalo; and manuscripts by fellow poets and writers. The collection includes Bernstein’s voluminous email correspondence with hundreds of poets, writers, critics, artists, and scholars, as well as the poet’s library of approximately 1,000 contributor’s copies of magazines and anthologies, including those in translation and other rarities. Poets and writers represented by manuscripts and / or correspondence include: Robert Creeley, Susan Howe, Rae Armantrout, Charles Alteri, Rachel Blau DuPlessi, Johanna Drucker, Annie Finch, Peter Gizzi, Barbara Guest, Nathaniel Mackey, Ann Lauterbach, Susan Stewart, Leslie Scalapino, Clayton Eschelman, Ulla Dydo, among many others. / More

56. Nachgetragen: Griffin Poetry Prize

Einer der höchstdotierten Lyrikpreise ist der in Kanada vergebene Griffin Poetry Prize. Wikipedia weiß:

Der Griffin Poetry Prize ist ein kanadischer Literaturpreis, der 2000 von Scott Griffin begründet wurde. Er wird jährlich in den Kategorien „kanadisch“ und „international“ an englischsprachige Lyriker vergeben und ist seit 2010 auf insgesamt 200.000 CAD dotiert, womit er als höchstdotierter Lyrikpreis weltweit gilt. Seit 2006 wird zusätzlich ein „Lifetime Recognition Award“ an internationale Dichter vergeben. Griffins ursprüngliche Absicht bei der Begründung des Preises bestand darin, dem Feld der Lyrik in der Literaturlandschaft mehr Gewicht zu verleihen. Der Preis wird ausschließlich an erstmals veröffentlichte Lyrikbände [des Vorjahres] vergeben. Er stellt an sich selbst den Anspruch, sowohl neue als auch etablierte Autoren unabhängig von ihrer Stilrichtung zu berücksichtigen.

Im April gab Scott Griffin die Namen der Finalisten in beiden Kategorien bekannt. Die Juroren Robert Bringhurst (Kanada), Jo Shapcott (UK) und C.D. Wright (USA) lasen die 539 nominierten Gedichtbände aus 40 Ländern (davon 24 Übersetzungen ins Englische). Alle Finalisten wurden zu einer Lesung nach Toronto eingeladen. Jeder Finalist bekommt ein Honorar in Höhe von 10,000 Kanadadollar für die Teilnahme an der Shortlistlesung (sie fand am 4.6. statt). Die Gewinner erhalten je 65,000 Kanadadollar.

Finalisten waren:

International

  • Pilgrim’s Flower ● Rachael Boast, Picador
  • Seasonal Works with Letters on Fire ● Brenda Hillman, Wesleyan University Press
  • Silverchest ● Carl Phillips, Farrar, Straus and Giroux
  • Colonies ● Mira Rosenthal, translated from the Polish written by Tomasz Różycki, Zephyr Press

Canadian

  • Red Doc> ● Anne Carson, Jonathan Cape and McClelland & Stewart
  • Ocean ● Sue Goyette, Gaspereau Press
  • Correspondences ● Anne Michaels, McClelland & Stewart

Die Preise gingen an Anne Carson und Brenda Hillman. Anne Carson erhielt den Preis bereits zum zweitenmal – ihr Band Men in the Off Hours wurde 2001 im ersten Jahrgang des Preises ausgezeichnet. Bisher erhielt sie u.a. den Lannan Award (1996) und den Pushcart Prize (1997). 2001 war sie die erste Frau, die mit dem T.S. Eliot Prize for Poetry geehrt wurde.

Die Jury über die Preisträger:

Anne Carson

Judge’s Citation: “Red Doc>, Anne Carson’s return to the characters of Autobiography of Red, stands on its own columns with pedestals in the fragments of Stesichorus’s account of Herakles’ final labor—to steal the red cattle of the monster Geryon. The narration puts the gaps to task. What is taken up again, more significantly than an update of Autobiography, is a daunting writer having her particular way with the language. Amid marvels of toaster-sized ice bats, barn-sized crows, and a silver-tuxedoed Hermes in humanlike form, is a dying mother’s request of the daughter to pluck the hairs from her chin. Geryon returns middle-aged, Herakles, a damaged war veteran. Sexual bent is irrelevant; nature outsized, glacial and volcanic. Words are rescued, morphed and slapped awake. Speech hurtles from vulgar to sublime. Everything accelerates except when a break is introduced disguised as riff, list or song and the mead is served in golden cups.”

Biography: Anne Carson was born in Canada and has been a professor of Classics for over 30 years. She was twice a finalist for the National Book Critics Circle Award; was honored with the 1996 Lannan Award and the 1997 Pushcart Prize, both for poetry; and was named a MacArthur Fellow in 2000. In 2001 she received the T. S. Eliot Prize for Poetry—the first woman to do so, the 2001 Griffin Poetry Prize and the Los Angeles Times Book Prize. She currently teaches at the University of Michigan and lives in Ann Arbor.

Summary: In a stunningly original mix of poetry, drama and narrative, Anne Carson brings the red-winged Geryon from Autobiography of Red, now called “G”, into manhood and through the complex labyrinths of the modern age. We join him as he travels with his friend and lover “Sad” (short for Sad But Great), a haunted war veteran; and with Ida, an artist, across a geography that ranges from plains of glacial ice to idyllic green pastures; from a psychiatric clinic to the somber house where G’s mother must face her death. Haunted by Proust, juxtaposing the hunger for flight with the longing for family and home, this deeply powerful verse picaresque invites readers on an extraordinary journey of intellect, imagination and soul.

Brenda Hillman

Judge’s Citation: Seasonal Works with Letters on Fire concludes Brenda Hillman’s tetralogy on the four elements of classical thought. She steers wildly but ably through another day of teaching, a ceremonial equinox, the distress of bee colony collapse; space junk, political obstruction, military drones, administrative headaches, and everything in between. The ‘newt under the laurel’ and ‘the herring purring through the eelgrass’ don’t escape her arc of acuity. Seasonal Works appears to be one of the most inclusive books a hyperactive imagination could wring out of the actual. The symbols of the alphabet come alive and perform acrobatic marvels. Phonetical birdcalls join in on cue. The mighty challenges of now are fully engaged. The book performs an ‘anarchic music’ and stimulates a craving for undiluted love, and a rollicking fury for justice that only its widely variant forms can sustain. This is a unique work. Its letters are on fire.”

Biography: Brenda Hillman was born in Tucson, Arizona and spent part of her early childhood in Brazil. After receiving her BA from Pomona College, she attended the University of Iowa, where she received her MFA. Wesleyan University Press has published nine collections of Hillman’s poetry, including Practical Water (2009), for which she was awarded the Los Angeles Times Book Award for Poetry and, Seasonal Works With Letters on Fire that was longlisted for the National Book Award. In 2010 Hillman co-translated Jeongrye Choi’s book of poems, Instances. Hillman has received fellowships from the National Endowment for the Arts and the Guggenheim Foundation, two Pushcart Prizes, a Holloway Fellowship from the University of California at Berkeley and the Delmore Schwartz Memorial Award for Poetry. Hillman serves as a professor and poet-in-residence at St. Mary’s College in Morago, California. She is also a member of the permanent faculties of Squaw Valley Community of Writers and Napa Valley Writers’ Conference.

Summary: Fire—its physical, symbolic, political, and spiritual forms—is the fourth and final subject in Brenda Hillman’s masterful series on the elements. Her previous volumes—Cascadia, Pieces of Air in the Epic, and Practical Water—have addressed earth, air and water. Here, Hillman evokes fire as metaphor and as event to chart subtle changes of seasons during financial breakdown, environmental crisis and street movements for social justice; she gathers factual data, earthly rhythms, chants to the dead, journal entries and lyric fragments in the service of a radical animism. In the polyphony of Seasonal Works with Letters on Fire, the poet fuses the visionary, the political and the personal to summon music and fire at once, calling the reader to be alive to the senses and to reimagine a common life.

Zweimal wurden Übersetzungen ausgezeichnet. 2001 gewannen Nikolai Popov und Heather McHugh den Preis für ihre Übersetzung von Glottal Stop: 101 Poems by Paul Celan und 2013 Fady Joudah für The Straw Bird It Follows Me, and Other Poems by Ghassan Zaqtan. 2006 war Michael Hofmanns Übersetzung von Ashes for Breakfast: Selected Poems by Durs Grünbein unter den Finalisten. Einige Jahre wurde zusätzlich ein Preis für ein Lebenswerk vergeben:

  • Robin Blaser 2006
  • Tomas Tranströmer 2007
  • Ko Un 2008
  • Hans Magnus Enzensberger 2009
  • Adrienne Rich 2010
  • Yves Bonnefoy 2011
  • Seamus Heaney 2012
  • Adelia Prado 2014

Quelle: Offizielle Website des Preises

49. American Life in Poetry: Column 494

BY TED KOOSER, U.S. POET LAUREATE

I’d guess that a number of our readers have had MRIs. One of my neighbors, a gravel hauler in rural Nebraska, told me that his test sounded as if he were on the inside of a corn sheller. Jackie Fox, also a Nebraskan, has a different take on the experience. Would you rather find yourself confined in a corn sheller or a dryer? It’s no wonder we call ourselves patients.

MRI

It thuds and clanks
like tennis shoes
in a dryer, only
I am the shoe,
sour, damp and
wedged into
the narrow
metal tube,
heart clanging.

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 Jackie Fox. Poem reprinted from Bellevue Literary Review, Volume 13, no. 2, Fall 2013, by permission of Jackie Fox and the publisher. Introduction copyright © 2014 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.

44. H.D. und Sappho

— Wie wird gesprochen? Eigenartig bildhaft, bildkräftig. Konkrete Bilder, die Ezra Pound bewunderte und von Imagismus sprechen ließ. Metaphern, die in konkrete Bilder zurückverwandelt sind. Bilder, die nicht eigentlich schildern, sondern auftreten wie handelnde Personen im Drama. Hart zupackende Verben. Knappe, harsche Attribute, die wie Kieselsteine in der Hand liegen. Konkret und enigmatisch zugleich.

— Wovon handelt diese Sprache? Wieviel Augenblick und wieviel Mythos kommt hier zu Wort? Ist es, wie Eileen Gregory* uns nahelegt, die Gestalt der SAPPHO, die hier auflebt, überraschend neu und so fern dem Bild, das die Spätromantik von ihr gezeichnet hat? Erkennen wir SAPPHO? Und hinter ihr die Gestalt der Gottheit, die sie besingt?

(…)

[Eileen Gregory] betont aber auch das Gefühl der Distanz der modernen Frau und Dichterin gegenüber dem Lesbos SAPPHOs, derer H.D. sich tief bewußt war. Eine Distanz, der sie durch radikale Strenge ihrer Bildsprache Ausdruck gab, die alle überkommene Metaphernpoesie vergessen macht.

(…)

Daß sich von SAPPHOs Werk nur Bruchstücke erhalten haben (Zitate und Verweise bei hellenistischen Dichtern und ein Sammelsurium von Papyrusfetzen, die erst in jüngerer Zeit entdeckt wurden), mag nicht unwesentlich dazu beigetragen haben, daß auch H.D. bei aller Gemessenheit sprunghaft und fragmentarisch schreibt, ihre Gedichte oft in eine numerierte Folge von Einzelpassagen auflöst, in denen die sprechenden Stimmen sich abwechseln, einander ergänzen oder widersprechen und zusammengenommen enigmatisch bleiben, rätselhaft offen wie die dem Leben erwartungsvoll geöffnete Seele, deren Regungen hier laut werden. Gedichte, die für sich genommen und als Gedichtfolge Offenheit und Geschlossenheit zugleich präsentieren, die nicht assoziativ, sondern pointiert gesprochen und bewußt komponiert sind, zugleich aber offen für jene Mythen, die um vieles älter sind als die, die SAPPHO lebendig hielt, offen für das ganze von der menschlichen Stimme belebte All: Wind, der befruchtet und zerstört, Salz, das Bitternis beisteuert zur Süße, und See, die Gefahrenreiche, aus der alles Leben stammt.

/ Günter Plessow, aus: See Garten – H.D. und ihre Sappho. In: Signaturen

* Eileen GREGORY, Philologin, University of Dallas. H.D. and Hellenism. Classic Lines (1997); Rose Cut in Rock: Sappho and H.D.s Sea Garden (1986), reprinted in: Susan Stanford Friedman / Rachel Blau DuPlessis (ed.): Signets: Reading H.D. (1990).

29. American Life in Poetry: Column 493

BY TED KOOSER, U.S. POET LAUREATE

Stories read to us as children can stay with us all our lives. Robert McCloskey’s Lentil was especially influential for me, and other books have helped to shape you. Here’s Matt Mason, who lives in Omaha, with a book that many of you will remember.

The Story of Ferdinand the Bull

Dad would come home after too long at work
and I’d sit on his lap to hear
the story of Ferdinand the Bull; every night,
me handing him the red book until I knew
every word, couldn’t read,
just recite along with drawings
of a gentle bull, frustrated matadors,
the all-important bee, and flowers—
flowers in meadows and flowers
thrown by the Spanish ladies.
Its lesson, really,
about not being what you’re born into
but what you’re born to be,
even if that means
not caring about the capes they wave in your face
or the spears they cut into your shoulders.
And Dad, wonderful Dad, came home
after too long at work
and read to me
the same story every night
until I knew every word, couldn’t read,
just recite.

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 Matt Mason from his most recent book of poems, The Baby That Ate Cincinnati, Stephen F. Austin State University Press, 2013. Poem reprinted by permission of Matt Mason and the publisher. Introduction copyright © 2014 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.