114. American Life in Poetry: Column 413

BY TED KOOSER, U.S. POET LAUREATE

Every day, hundreds of thousands of us are preoccupied with keeping up a civil if not loving relationship with our parents. In this poem, Mark Irwin (who lives in Colorado) does a beautiful job in portraying, in a dreamlike manner, the complexities of just one of those relationships.

Portraits

Mother came to visit today. We
hadn’t seen each other in years. Why didn’t
you call? I asked. Your windows are filthy, she said. I know,
I know. It’s from the dust and rain. She stood outside.
I stood in, and we cleaned each one that way, staring into each other’s eyes,
rubbing the white towel over our faces, rubbing
away hours, years. This is what it was like
when you were inside me, she said. What? I asked,
though I understood. Afterwards, indoors, she smelled like snow
melting. Holding hands we stood by the picture window,
gazing into the December sun, watching the pines in flame.

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 ©2010 by Mark Irwin from his most recent book of poems, Large White House Speaking, New Issues, 2013 and reprinted by permission of Mark Irwin and the publisher. Poem first printed in The Sun, July 2010. Introduction copyright © 2013 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.

113. Offener Brief

Die „Zeit“ hat den chinesischen Friedenspreisträger Liao Yiwu der Lüge bezichtigt. Das steht in der Tradition ihres Herausgebers: Altkanzler und Welterklärer Helmut Schmidt. Ein offener Brief. Von Wolf Biermann, Die Welt

Lieber Liao Yiwu,

die vornehme „Zeit“ kolportierte dieser Tage allerhand stinkende Neuigkeiten: Deine erschütternden Sittenbilder aus dem Turbo-KZ-Kapitalismus in China seien alles Fälschungen, hysterische Fantasiegeschichten, denn es sei ja gar nicht dermaßen mörderisch für die Millionen Menschen in den chinesischen Gefängnissen und Umerziehungs- und Arbeitslagern. Und daraus folgt natürlich der Vorwurf gegen Dich: Du habest Dir all diese attraktiven Verbrechen gegen die Menschlichkeit nur ausgedacht, damit Du den naiven Gutmenschen im Westen Deine Bücher lukrativ verkaufen kannst. Du habest Dir also mit diesen Lügen den Friedenspreis des Deutschen Buchhandels erschwindelt und den hochangesehenen Geschwister-Scholl-Preis ergaunert. Und es werden sogar etliche Ex-Freunde, die nicht im Exil leben, als Zeugen gegen Dein großes chinesisches Sittenbild in Stellung gebracht.

All das passt grauenhaft gut zu dem, was unser Globalökonom Helmut Schmidt seit eh und je über Rot-China verbreitet: das totalitäre Schlachtfest auf dem Platz des Himmlischen Friedens sei gar kein Massaker gewesen, die Soldaten der Chinesischen Volksarmee hätten sich an diesem 3. und 4. Juni 1989 mit ihren Panzern nur gegen das protestierende Studentenpack in Peking verteidigt.

112. Google Poetics

Google Poetics is born when Google autocomplete suggestions are viewed as poems.

Google’s algorithm offers searches after just a few keystrokes when typing in the search box, in an attempt to predict what the user wants to type. The combination of these suggestions can be funny, absurd, dadaistic – and sometimes even deeply moving.

There is, however, more to these poems than just the occasional chuckle. The Google autocomplete suggestions are based on previous searches by actual people all around the world. In the cold blue glow of their computer screens, they ask “why am I alone” and “why do fat girls have high standards”. They wonder how to roll a joint and whether it is too early to say “I love you”. They seek information on ninjas, cannibals, and Rihanna, and sometimes they just ask “am I better off dead?”

Despite the seemingly open nature of Western society, forbidden questions and thoughts still remain. When faced with these issues, people do not reach out to one another, instead they turn to Google in the privacy of their own homes. The all-knowing search engine accepts and embraces these questions and tangles them with popular song lyrics, book titles and names of celebrities: often with hilarious results.

Obviously Google is not Shakespeare, Whitman or Dickinson – it can not illuminate the unknown. But it does reveal our inner workings, our fears and prejudices, secrets and shames, the hope and longing of a modern individual.

This is why Google Poetics is important.

November 4th 2012
Helsinki, Finland

Sampsa Nuotio and Raisa Omaheimo

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111. Potenzierte Poesie vom Außenseiterposten

Wenn, wie Robert Schumann schrieb, Musik die höhere Potenz der Poesie ist, dann ist dieses Buch Musik. Eine Sinfonie in sechs Sätzen und im austarierten Wechsel zwischen orchestraler Wucht und kammermusikalischer Feinheit. Ein Glanzstück literarischer Komposition und von jener intellektuellen und poetischen Eigensinnigkeit, die vom großteilig in Fadheit genormten Gedudel des Gegenwartsliteraturbetriebes mit fataler Zwangsläufigkeit auf den Außenseiterposten verbannt wird. Auf dem arbeitet sich der 1965 geborene Autor Thomas Kunst seit jeher ab. Woran weder euphorische Besprechungen von Deutschlandfunk bis FAZ noch das inzwischen 13 Bände umfassende Gesamtwerk etwas änderten.

Ob das jetzt mit „Die Arbeiterin auf dem Eis“ anders wird, bleibt abzuwarten. Mehr als nur verdient hätte es dieses Buch, das in sechs Kapiteln Gedichte und Briefe zu einem Kosmos verschmilzt, in dem die Wirklichkeit sich irrlichternd in Poesie komprimiert. Es geht um Liebe und Literatur, Ameisen in Palästina, Coyoten in Tucson haben große Auftritte, die Wut über „blutleere Gedichtattrappen“ bricht sich Bahn, Größenwahn zeigt sich als „verwildertes Selbstbewusstsein“, Venedig wird im Waschbecken erbaut oder sich frei jeglicher Folklore der grotesken Situation einer Schriftstellerexistenz in der DDR erinnert. All das: Sprachmusik, potenzierte Poesie – und der große literarische Wurf eines kleinen Verlages. / Steffen Georgi, in: REGJO. Das Magazin für Wirtschaft und Kultur aus Mitteldeutschland. 32. Ausgabe. Heft 1/2013

Die Arbeiterin auf dem Eis. Gedichte
und Briefe
edition Azur
Dresden 2013
136 Seiten
22,00 €

110. Resonanzkatastrophe

HONORARHOELLE VS. PARADIES DER PREISE

So ist denn die Denunziation von institutionell vergebenen und finanziell dotierten Literaturpreisen sowie der “blühende[n] Kultursubventionslandschaft” ( siehe : Autorenförderung ? Hungert sie aus ! / FAZ 2008 oder kürzlich Der Preis des Schreibens / taz 2013 ) mittlerweile ein mindestens so beliebter Topos wie die Klage über kärgliche Lebensumstände .

Dass es gut verdienende Autoren gibt , weiss Bernhard Kathan mindestens so gut wie auch die Leute vom Freischreiber , denen Dokumente von vergleichsweise luxuriösen Produktionsbedingungen vorliegen .

Die Perspektiven verschränken sich in Beobachtungen , wonach bereits bepreiste Autorinnen und Autoren eher mit weiteren Preisen bedacht werden als bislang weniger exponierte Kollegen . Gleicherweise tendieren Rezensionen ab einem gewissen Grad der Publizität zum Kaskadieren . Woran sich bekanntlich wiederum die Organisatoren & Redaktoren von Lesungen , Auftritten , Features orientieren .

Allerdings gibt es diese Resonanzkatastrophe durchaus auch negativ : Wer als kompliziert oder schwierig gilt , wird vielleicht von gewissen Zirkeln ästimiert und – wo dies möglich – hin und wieder mit ein paar Euro , bleibt bei aller Fertigkeit und allem Fleiss indes in einem Kreislauf des Schweigens . / Christiane Zintzen, in|ad|ae|qu|at

109. Lorca in Urgestalt

Mehr als 76 Jahre nach dem Tod von Federico García Lorca wird ein letzter Wille des spanischen Schriftstellers doch noch erfüllt. Der Gedichtband «Poeta en Nueva York» (Dichter in New York) wird genau so veröffentlicht, wie García Lorca (1898-1936) es sich vorgestellt hatte. Die von dem britischen Hispanisten Andrew A. Anderson betreute Ausgabe folgt nach spanischen Medienberichten vom Dienstag exakt dem Manuskript des Poeten. (…)

Das Originalmanuskript verschwand für mehrere Jahrzehnte und tauchte 1979 bei einer mexikanischen Schauspielerin auf. 2003 erstand die García Lorca-Stiftung das Original auf einer Versteigerung. / Europe online

108. Preis für Marie Ponsot

The Poetry Foundation is pleased to announce that poet Marie Ponsot has won the 2013 Ruth Lilly Poetry Prize.

Presented annually to a living U.S. poet whose lifetime accomplishments warrant extraordinary recognition, the Ruth Lilly Poetry Prize is one of the most prestigious awards given to American poets. At $100,000, it is also one of the nation’s largest literary prizes. Established in 1986, the prize is sponsored and administered by the Poetry Foundation, publisher of Poetry magazine. The prize will be presented at the Pegasus Awards ceremony, along with the announcement of the new Children’s Poet Laureate, at the Poetry Foundation on Monday, June 10.

“How fitting that the Ruth Lilly Poetry Prize, named for poetry’s greatest benefactor, should this year honor Marie Ponsot, a woman who has herself made such major contributions to American poetry,” said John Barr, president of the Poetry Foundation.

Born in 1921 in New York, poet and translator Marie Ponsot has published six poetry collections, including The Bird Catcher (1998), which won the National Book Critics Circle Award and was a finalist for the 1999 Lenore Marshall Poetry Prize. Her other collections include Easy (2009), Springing (2002), The Green Dark (1988), Admit Impediment (1981), and True Minds (1957). With Rosemary Deen, Ponsot co-authored a guide to teaching writing, Beat Not the Poor Desk (1982). She has translated more than 30 books into English from French for children and adults, including the titles Love & Folly: Selected Fables and Tales of La Fontaine (2002), and The Golden Book of Fairy Tales (1958).

On the occasion of announcing the winner of the 2013 Ruth Lilly Poetry Prize, Christian Wiman, editor of Poetry magazine, noted Ponsot’s distinctiveness as a contemporary poet: “T.S. Eliot once said that modern poets had lost the ability to think and feel at the same time. If only he could have read Marie Ponsot! Her poems are marvels of intellectual curiosity and acuity, and they will also break your heart.”

Poetry senior editor Don Share added, “Marie Ponsot is one of the most beloved poets in the country; both her work and her life are exemplary.”

Eleven of Ponsot’s poems will be included in a portfolio in the May 2013 issue of Poetry. Ponsot first appeared in Poetry in June 1957, and her poem “Anti-Romantic,” from Poetry’s March 1958 issue, was included in Poetry’s centennial anthology, The Open Door: 100 Poems, 100 Years of Poetry Magazine (2012). She will participate in a reading celebrating the centennial anthology on Monday, April 8, at 8:15pm at the 92nd Street Y in New York, where fellow anthology contributors Frank Bidart, Thomas Sayers Ellis, Mary Karr, Atsuro Riley, and Charles Wright will read along with editors Christian Wiman and Don Share.

Ponsot has been honored with a grant from the National Endowment for the Arts, the Shaughnessy Medal of the Modern Language Association, and the Delmore Schwartz Memorial Prize. She was elected as a chancellor of the Academy of American Poets in 2010. She has taught at Beijing United University, New York University, Columbia University, and Queens College. The mother of seven children, a grandmother, and a great-grandmother, Ponsot lives in New York City.

Previous recipients of the Ruth Lilly Poetry Prize are Adrienne Rich, Philip Levine, Anthony Hecht, Mona Van Duyn, Hayden Carruth, David Wagoner, John Ashbery, Charles Wright, Donald Hall, A.R. Ammons, Gerald Stern, William Matthews, W.S. Merwin, Maxine Kumin, Carl Dennis, Yusef Komunyakaa, Lisel Mueller, Linda Pastan, Kay Ryan, C.K. Williams, Richard Wilbur, Lucille Clifton, Gary Snyder, Fanny Howe, Eleanor Ross Taylor, David Ferry, and W.S. Di Piero.

***

About the Ruth Lilly Poetry Prize
American poetry has no greater friend than Ruth Lilly. Over many years and in many ways, it has been blessed by her personal generosity. In 1985 she endowed the Ruth Lilly Professorship in Poetry at Indiana University. In 1989 she created Ruth Lilly Poetry Fellowships, for $15,000 each, given annually by the Poetry Foundation to undergraduate or graduate students selected through a national competition. In 2002 her lifetime engagement with poetry culminated in a magnificent bequest that will enable the Poetry Foundation to promote, in perpetuity, a vigorous presence for poetry in our culture.

About the Poetry Foundation
The Poetry Foundation, publisher of Poetry magazine, is an independent literary organization committed to a vigorous presence for poetry in our culture. It exists to discover and celebrate the best poetry and to place it before the largest possible audience. The Poetry Foundation seeks to be a leader in shaping a receptive climate for poetry by developing new audiences, creating new avenues for delivery, and encouraging new kinds of poetry through innovative literary prizes and programs. For more information, please visit www.poetryfoundation.org.

POETRY FOUNDATION | 61 West Superior Street | Chicago, IL 60654 | 312.787.7070 | Media contact: Kristin Gecan, kgecan@poetryfoundation.org, 312.799.8065

POETRY FOUNDATION
61 West Superior Street
Chicago, IL 60654
312.799.8065

Free Poetry

Celebrate National Poetry Month with complimentary copies of Poetry magazine.

107. But some men in Badakhshan

Documentary about Afghan woman poet by Rahmat Haidari and Sajia Hussain

106. Balls Messgesang

Hugo Ball (1886-1927) begründete während des Ersten Weltkriegs in Zürich den Dadaismus. (Hatte er nicht wenigstens einen Koch bei sich?)

Anja Kampmann sprach im Deutschlandfunk über

Wiebke-Marie Stock: „Denkumsturz Hugo Ball. Eine intellektuelle Biografie“ Wallstein Verlag

Aber bereits im Juni 1916, in der Hochphase der Dada-Zeit, entdeckt Wiebke-Marie Stock eine Dimension der Klanggedichte, die Ball fortan beschäftigen wird. Während er in einem Bischofskostüm aus Glanzpapier ein Krippenspiel aufführt, fällt ihm plötzlich etwas auf. Seine Stimme

„verfällt bei der Aufführung in die uralte Kadenz der priesterlichen Lamentation, in ‚jenen Stil des Messgesangs, wie er durch die katholischen Kirchen des Morgen- und Abendlandes wehklagt. Ich weiß nicht, was mir diese Musik eingab.“

Ball erblickt inmitten seiner Wort- und Vokalalchemie eine plötzlich aufscheinende religiöse Dimension.

 

105. Poets‘ Picks

Poets‘ Picks feature for Poetry Month:
Sign up for a free subscription to our newsletter!

Our free weekly e-mail newsletter alerts you to upcoming featured poets, news from the world of poetry, and special events like this one: again this year for Poetry Month and our annual April fund drive, we’ve asked 22 poets (including Jessica Greenbaum, Alpay Ulku, Tina Chang, and Lloyd Schwartz) to select poems to be delivered to you by e-mail Monday through Friday of each week in April — their favorites from among The Greats — along with their comments on the poems.

Sign up now (and tell your friends-in-poetry) before you miss our special April poems! (Note: if you already receive our weekly e-newsletter, you need not sign up again). / Poetry Daily

104. Schönschreiben

Im Japanischen kann man Gedichte nicht nur lesen und rezitieren, man kann sie auch anschauen und schönschreiben. Letzteres wird als Kunst so hoch geachtet wie das Dichten.Kurz nach der Katastrophe schrieb Yoko Ono während eines Vortrag über die Katastrophe das Zeichen für ‚Traum‘ auf eine Leinwand. Einer Kalligrafin beim Schönschreiben zuzuschauen, gilt as besonderes Kunsterlebnis. Japan hat seine Schriftzeichen von China übernommen, auch die Kalligrafie als Kunst. Trotz des Streits um einige Felsen im Meer, die zum Abbruch mancher Kulturkontakte führten, zeigt das Nationalmuseum zur Zeit Kalligrafien des chinesischen Meisters Wang Xizhi aus dem vierten Jahrhundert. / Süddeutsche Zeitung 16.3.

Nachrichten aus Japan von Christoph Neidhart, s.a. Hundert Tanka / Wiederaufbau- Lied

103. American Life in Poetry: Column 412

BY TED KOOSER, U.S. POET LAUREATE

Mark Sanders, who lives in Texas, is not only a good poet, but he’s an old friend to the poetry of my home ground, working hard as teacher, editor, and publisher to bring Great Plains poetry to the attention of readers across the country. Here’s an example of one of his poems.

The Cranes, Texas January

I call my wife outdoors to have her listen,
to turn her ears upward, beyond the cloud-veiled
sky where the moon dances thin light,
to tell her, “Don’t hear the cars on the freeway—

it’s not the truck-rumble. It is and is not
the sirens.” She stands there, on deck
a rocking boat, wanting to please the captain
who would have her hear the inaudible.

Her eyes, so blue the day sky is envious,
fix blackly on me, her mouth poised on question
like a stone. But, she hears, after all.
…………………………………………… January on the Gulf,
warm wind washing over us,
we stand chilled in the winter of those voices.

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 ©2011 by Mark Sanders from his most recent book of poems, Conditions of Grace: New and Selected Poems, Stephen F. Austin State University Press, 2011. Poem reprinted by permission of Mark Sanders and the publisher. Introduction copyright © 2013 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.

102. Anglophon

Welcher Reichtum. Allein heute haben Geburtstag: A.E. Housman, Robert Frost, Tennessee Williams und Gregory Corso.

Hier ein Gedicht von Housman:

The Carpenter’s Son

„Here the hangman stops his cart:
Now the best of friends must part.
Fare you well, for ill fare I:
Live, lads, and I will die.

„Oh, at home had I but stayed
‚Prenticed to my father’s trade,
Had I stuck to plane and adze,
I had not been lost, my lads.

„Then I might have built perhaps
Gallows-trees for other chaps,
Never dangled on my own,
Had I left but ill alone.

„Now, you see, they hang me high,
And the people passing by
Stop to shake their fists and curse;
So ‚tis come from ill to worse.

„Here hang I, and right and left
Two poor fellows hang for theft:
All the same’s the luck we prove,
Though the midmost hangs for love.

„Comrades all, that stand and gaze,
Walk henceforth in other ways;
See my neck and save your own:
Comrades all, leave ill alone.

„Make some day a decent end,
Shrewder fellows than your friend.
Fare you well, for ill fare I:
Live lads, and I will die.“

Alfred Edward Housman

101. Auf der Suche nach einem verlorenen (Griechen)Land

»Sogar dann, wenn jeder Himmel fehlt …«

Auf der Suche nach einem verlorenen (Griechen)Land

Zusammengestellt von Asteris und Ina Kutulas

die horen. Zeitschrift für Literatur, Kunst und Kritik (Hg. von Jürgen Krätzer); Bd. 58. Jahrgang, 249

€ 14,00 (D) | € 14,40 (A) | SFr 19,50

Gedichte von Jazra Khaleed, Konstantin Kavafis (Unfertige Gedichte), Maria Poliduri, Kostas Karyotakis, Giorgis Seferis, Jannis Ritsos, Menelaos Ludemis, Tasos Livaditis, Takis Sinopoulos, Jakovos Kambanellis, Manolis Anagnostakis, Rena Chatzidaki, Titos Patrikios, Nikos Engonopoulos, Dionisis Karatzas, Sakis Serefas, Lefteris Poulios, Antonis Fostieris, Thanassis Lambrou, Kiki Dimoula

Prosa von Konstantin Kavafis (Reisetagebücher),  Mikis Theodorakis, Odysseas Elytis

Eine Rose, die Poesie wird, kann dich brutaler niederstrecken als eine Faust, die niemals Poesie werden kann. Myriaden von Worten welken in rot eingebundenen Büchern, kaum dass ein Mädelchen einen Schuss abgibt.

Aris Fioretos, Amanda Michalopoulou u.a.

(fast alle Texte Erstübertragungen)

100. Non-written poems

Early experimental poetry from (communist) Czechoslovakia:

The following set of „Non-Written“ poems includes an introduction to the process of creating this type of poetry:

Non-Written Poems

Nebeský wonders if his early binary poems were ahead of their time. Certainly many circumstances of his life and in the world during the period after the creative upsurge of the 1960s were not conducive to their full development. The invasion of Chechoslovakia in 1968 suppressed some of the artistic flowering of the mid 1960s, but it’s not wise to see declines in creativity solely in political or other simplistic terms.

The world of the present may be more cordial, and Nebeský’s personal circumstances greatly improved. The world, after all, now depends completely on binary mediation, and much of society would collapse without the digital infrastructure that has grown since the 1960s. It is a pleasant irony to put binary poems on the world wide web, which is brought to you by binary systems. The dictatorships of the left and the right in the 1960s and 70s saw art forms such as Nebeský’s as self-indulgent, an affront to the „people“ and a decadent waste of time and energy by aesthetes. At present, binary communication is not only highly practical and engrained in the fabric of daily life for a large portion of the world’s population, the technology seems poised on the edge of bringing about a revolution that could empower many people or could become a tool of oppression. If it does the latter, the best way to resist it would include understanding it and finding it familiar.

Ladislav Nebeský was born in 1937, at Jilemnice, a small town about 100 km north-east of Prague. Begining in 1939, his father was a member of the underground anti-Nazi movement. In 1940, he was arrested by the Gestapo; in 1942, he was killed in Berlin. Ladislav Nebeský spent his first 18 years in Jilemnice. In the period 1955 – 1960 , he studied mathematics at Charles University in Prague. In 1962, he began working as a researcher at Charles University. This lead to full-time teaching at that school, where he became an Associate Professor in mathematics. The present academic year will be his last year there. He lives with his wife in Prague. They have one son, David.

The development of his poetry falls into two major periods: 1964 – 1972 and 1995 – … (Beginning in the seventies, he pursued mathematics more intensively). In the first period, he was a member of a free group of Czech authors of experimental poetry; he had many contacts with other poets. In the second period, the contacts with other writers became rather rare. In the earlier period, one of the high points for him and several other Czech poets was inclusion in the exhibition Poesía Concreta International in Mexico City, 1966. Another high point was the Konkrete Poesie exhibition, Stedelijk Museum, Amsterdam, 1970. Some of his early poetry was published in international magazines, and he is particularly pleased with one published in Ovum 10, Montevideo, Uruguay, in 1970.

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Bildschirmfoto 2013-03-26 um 19.23.41