One mind-stumping sensation a reader is likely to glean from Ron Padgett’s Collected Poems (Minneapolis: Coffee House Press, 2013) is that the poems wrote themselves, and that he just happened to be in the room when they showed up. There is even a substantial section in Collected Poems that Padgett titled: POEMS I GUESS I WROTE (2001).
The Romanian-born, German-speaking Paul Celan is one of the most translated poets in recent decades, and we’re still not through with him.
It seems like every few decades there is a mainstream revival for the occult and esoteric. Not that it ever fades away, but there is a periodic surge in fascination with the unknowable, the rites, rituals, and art that make up its history.
How much time do you spend looking at the art on a pizza box?
“Being born in Scotland carries with it certain responsibilities.”
That observation, made by Derek Taylor, the Liverpool-born newspaperman who became the Beatles’ press officer, was irreverently included on the back cover of John Lennon and Yoko Ono’s record album The Plastic One Band/Live Peace in Toronto 1969.
Lytle Shaw’s Fieldworks is a big and ambitious study that is a welcome addition to the dense, unruly, and relatively unmapped field called “postwar poetics.”
For anyone soothed by the careful filling in of white space or enthused by wrecking it all with random slashes of color and unconventional hues, there’s been a recent influx of coloring books created by artists.
The futures that are built through architecture and the futures that are constructed through science fiction aren’t always galaxies apart.
It’s refreshing, in this age of ubiquitous self-promotion, to pick up a book modestly titled My Poems Won’t Change The World, the first substantial American anthology of Patrizia Cavalli’s work.
A little known fact: a great obstacle to the building of the Brooklyn Bridge was Rosie the East River Monster, whose tentacle can be seen grasping at the completed structure in an 1883 illustration.
Of all the Seven Wonders of the Ancient World, the location of the Hanging Garden of Babylon remains the most elusive, even with its believed home right there in its name. However, new research suggests it wasn’t in Babylon at all, but in another city over 300 miles away.
Think of T.J. Demos’s The Migrant Image as a field guide to art for those interested in the politics of human rights, globalization, migration, and war.