Cole Swensen – författare

As Cole Swensen argues in the introduction to this comprehensive new anthology, the long-acknowledged "fundamental division" between experimental and traditional is disappearing in American poetry in favor of hybrid approaches that blend trends from accessible lyricism to linguistic exploration. The focus in American Hybrid is on the blend; the more than seventy poets featured here--including Jorie Graham, Albert Goldbarth, and Lyn Hejinian--have found new and often unique ways to reconfigure the innumerable and sometimes conflicting voices of the past thirty years. The editors have crafted short introductory essays on each of the poets in the anthology, providing biographical backgrounds and positioning them within the current of contemporary poetry. This new anthology is essential reading for those who care about the present moment--and the future--of American verse.

Praise for Cole Swensen:

"One of the most assured voices in contemporary poetry." ---Library Journal

"Engaging and delightful." ---Publishers Weekly    A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.

Ezra Pound famously said that literature is "news that stays news," but recent experiments in poetry and the sciences allow us to enlarge the statement to bring information theory and biology to bear on the issue---in particular, how the information theory–based model of self-organization from noise offers a way to look at language as an art material as well as a mode of communication. This concept directs these essays on poetry by contemporary poet Cole Swensen.

Noise That Stays Noise covers a variety of subjects relevant to contemporary poetry and will give the general reader a broad notion of the issues that inform discourse around poetry today. Space---the conceptual geometry of poetry and its concrete mise-en-page---is an underlying theme of this collection, sometimes approached directly through the work of other twentieth-century poets, sometimes more obliquely through considerations of the role of the visual arts in contemporary poetry. This question of space and the shapes it includes and acquires offers a different way to look at some familiar writers, such as Mallarmé and Olson, and a way to introduce several more recent writers who may not yet be known to the general public.

Praise for Cole Swensen:"One of the most assured voices in contemporary poetry." ---Library Journal "Engaging and delightful." ---Publishers Weekly A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.Ezra Pound famously said that literature is "news that stays news," but recent experiments in poetry and the sciences allow us to enlarge the statement to bring information theory and biology to bear on the issue---in particular, how the information theory–based model of self-organization from noise offers a way to look at language as an art material as well as a mode of communication. This concept directs these essays on poetry by contemporary poet Cole Swensen.Noise That Stays Noise covers a variety of subjects relevant to contemporary poetry and will give the general reader a broad notion of the issues that inform discourse around poetry today. Space---the conceptual geometry of poetry and its concrete mise-en-page---is an underlying theme of this collection, sometimes approached directly through the work of other twentieth-century poets, sometimes more obliquely through considerations of the role of the visual arts in contemporary poetry. This question of space and the shapes it includes and acquires offers a different way to look at some familiar writers, such as Mallarmé and Olson, and a way to introduce several more recent writers who may not yet be known to the general public.

These poems are about gardens, particularly the seventeenth-century French baroque gardens designed by the father of the form, Andre Le Notre. While the poems focus on such examples as Versailles, which Le Notre created for Louis XIV, they also explore the garden as metaphor. Using the imagery of the garden, Cole Swensen considers everything from human society to the formal structure of poetry. She looks in particular at the concept of public versus private property, asking who actually owns a garden? A gentle irony accompanies the question because in French, the phrase 'le notre' means "ours". Whereas all of Le Notre's gardens were designed and built for the aristocracy, today most are public parks. Swensen probes the two senses of 'le notre' to discover where they intersect, overlap, or blur.

"Ghosts appear in place of whatever a given people will not face" (p. 65) The poems in Gravesend explore ghosts as instances of collective grief and guilt, as cultural constructs evolved to elide or to absorb a given society's actions, as well as, at times, to fill the gaps between such actions and the desires and intentions of its individual citizens. Tracing the changing nature of the ghostly in the western world from antiquity to today, the collection focuses particularly on the ghosts created by the European expansion of the 16th through 20th centuries, using the town of Gravesend, the seaport at the mouth of the Thames through which countless emigrants passed, as an emblem of theambiguous threshold between one life and another, in all the many meanings of that phrase.

These poems are about gardens, particularly the seventeenth-century French baroque gardens designed by the father of the form, André Le Nôtre. While the poems focus on such examples as Versailles, which Le Nôtre created for Louis XIV, they also explore the garden as metaphor. Using the imagery of the garden, Cole Swensen considers everything from human society to the formal structure of poetry. She looks in particular at the concept of public versus private property, asking who actually owns a garden? A gentle irony accompanies the question because in French, the phrase "le nôtre" means "ours." Whereas all of Le Nôtre''s gardens were designed and built for the aristocracy, today most are public parks. Swensen probes the two senses of "le nôtre" to discover where they intersect, overlap, or blur.

"Ghosts appear in place of whatever a given people will not face" (p. 65)The poems in Gravesend explore ghosts as instances of collective grief and guilt, as cultural constructs evolved to elide or to absorb a given society’s actions, as well as, at times, to fill the gaps between such actions and the desires and intentions of its individual citizens. Tracing the changing nature of the ghostly in the western world from antiquity to today, the collection focuses particularly on the ghosts created by the European expansion of the 16th through 20th centuries, using the town of Gravesend, the seaport at the mouth of the Thames through which countless emigrants passed, as an emblem of theambiguous threshold between one life and another, in all the many meanings of that phrase.

A wide-ranging anthology of experimental writing—prose, poetry, and hybrid—from its most significant practitioners and innovators  A variety of names have been used to describe fiction, poetry, and hybrid writing that explore new forms and challenges mainstream traditions. Those phrases include experimental, conceptual, avant-garde, hybrid, surfiction, fusion, radical, slip-stream, avant-pop, postmodern, self-conscious, innovative, L=A=N=G=U=A=G=E writing, alternative, and anti- or new literature. Conceptualisms: The Anthology of Prose, Poetry, Visual, Found, E- & Hybrid Writing as Contemporary Art is the first major anthology of writing that offers readers an overview of this other tradition as it lives in the early decades of the 21st century.Featuring over 100 pieces from more than 90 authors, this anthology offers a plethora of aesthetics and approaches to a wide variety subjects. Editor Steve Tomasula has gathered poems, prose, and hybrid pieces that all challenge our understanding of what literature means. Intended as a collection of the most exciting and bold literary work being made today, Tomasula has put a spotlight on the many possibilities available to writers and readers wishing for a glimpse of literature’s future.Readers will recognize authors who have shaped contemporary writing, as among them Lydia Davis, Charles Bernstein, Jonathan Safran Foer, Shelley Jackson, Nathaniel Mackey, David Foster Wallace, and Claudia Rankine. Even seasoned readers will find authors, and responses to the canon, not yet encountered. Conceptualisms is a book of ideas for writers, teachers and scholars, as well as readers who wonder how many ways literature can live.The text features headnotes to chapters on themes such as sound writing, electronic literature, found text, and other forms, offering accessible introductions for readers new to this work. An online companion presents statements about the work and biographies of the authors in addition to audio, video, and electronic writing that can’t be presented in print. Visit www.conceptualisms.info to read more.

Historically, much landscape art has reinforced binaries such as inside/outside, subject/object, and culture/nature, thus reducing a complex network to an ornament that reinforces a sense of human power over nature, imposes specific cultural values, and/or claims or exercises control. And yet there are also artists who have developed alternatives to conventional depictions of the world around them, using landscape to participate in the earth, active in its view and its viewing. The art addressed in the book presents landscape as engagement rather than as detached observation, encouraging an increased sense of belonging to, and thus responsibility for, the earth.

Historically, much landscape art has reinforced binaries such as inside/outside, subject/object, and culture/nature, thus reducing a complex network to an ornament that reinforces a sense of human power over nature, imposes specific cultural values, and/or claims or exercises control. And yet there are also artists who have developed alternatives to conventional depictions of the world around them, using landscape to participate in the earth, active in its view and its viewing. The art addressed in the book presents landscape as engagement rather than as detached observation, encouraging an increased sense of belonging to, and thus responsibility for, the earth.

The central works of one of France's most renowned poets, now translated into English for the first time in a bilingual edition.Emmanuel Hocquard's Elegies, written over some twenty-five years, lie at the core of his oeuvre, one of the most admired in contemporary French poetry. They sound the depths of the past, finding it ever deeper, and they pose the question: To whom does the past belong? Like air and water, Hocquard suggests, the past is a commons shared by all. His Elegies are full of quotidian detail—the life of the street and the marketplace, overheard conversations, glimpses of private existence—even as they make room for the ancient world from which the form of the elegy descends. Hocquard has distinguished between two types of elegiac poet—what he calls the classic and the inverse. The classic ruminates on the past; the inverse remakes it. Hocquard is an inverse elegiac poet: Rich with the past, his poems lead us into an ever-expanding present.

"Swensen is psychopomp back to an orphic sense of voice, one the critic Elizabeth Sewell, in The Orphic Voice, describes as ...a kind of manual of language and mind as a dance of relations, moving and not static, which may help us forward. That could serve as worthy blurb for And And And. Swensen is returning us to a kind of first poetics, a prima poieia, in which word and world are co-creative and mutually flourishing. Here language doesn't define, doesn't categorize, doesn't lay claim to fact or knowledge. What paltry things such certainties are against the ongoing mystery of the vital energy stitching one life to every other..." -Dan Beachy-Quick

BAX compiles the best writing inspired by an experimental ethos written in North America in 2013. It features 75 works by a diverse range of emerging and established writers. The anthology is a vital teaching tool and a must-read for anyone interested in innovative concepts.

Green-Wood, founded in 1838, was a leader in the Rural Cemetery movement in America. Its 478 acres encompass magnificent grounds, grand architecture and world-class statuary. Throughout four seasons, Jacobson’s book captures the spirit of this verdant, history-drenched pastoral cemetery. Bethany Eden Jacobson creates a moving portrait of Green-Wood Cemetery in her colour and black and white photographs of century old trees, grand vistas and time worn statuary. Her cinematic approach is a visual meditation on the transience of life and the importance of nature to the human spirit. The book also includes reproductions of her unique artworks on handmade paper inspired by the female Victorian statuary. Throughout the book, Cole Swensen’s poetic words reflect on the imagery, creating a lyrical interplay between image and text.

Influenced by the history of landscape painting, Cole Swensen's new book is an experiment in seriality, in the different approach and scope that language must take to record the way that fluctuations of minutiae transform a whole. These poems meditate on what it is simply to look at the world, without judgment, without intervention, without appropriation. Swensen's lyric observations, lilting and delicate, distill the act of seeing. "Swensen's poetry documents a penetrating 'intellectus' - light of the mind - by turns fragile, incandescent, transcendent." - Anne Waldman