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Following the highly acclaimed "Collected Poems of Ted Berrigan," poets Alice Notley, Anselm Berrigan, and Edmund Berrigan have collaborated again on this new selection of poems by one of the most influential and admired poets of his generation. Reflecting a new editorial approach, this volume demonstrates the breadth of Ted Berrigan's poetic accomplishments by presenting his most celebrated, interesting, and important work. This major second-wave New York School poet is often identified with his early poems, especially "The Sonnets," but this selection encompasses his full poetic output, including the later sequences "Easter Monday" and "A Certain Slant of Sunlight," as well as many of his uncollected poems. "The Selected Poems of Ted Berrigan" provides a new perspective for those already familiar with his remarkable wit and invention, and introduces new readers to what John Ashbery called the 'crazy energy' of this iconoclastic, funny, brilliant, and highly innovative writer. Praise for "The Collected Poems of Ted Berrigan": "This is a great, great book for all seasons of the mind and heart." (Robert Creeley)."Thanks to this invaluable "Collected Poems," one can hear, as never before, Ted Berrigan dreaming his dream." ("The Nation"). "The Collected Poems of Ted Berrigan is not only one of the most strikingly attractive books recently published, but is also a major work of 20th-century poetry...It is a book that will darken with the grease of my hands. There is no better way to praise it than by saying, 'If you enjoy poetry, you should have it.'" ("Bloomsbury Review"). "It's a must-have, a poetic knockout." ("Time Out New York").
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A scion of the New York School, Edmund Berrigan grew up in and around poetry. More Gone, number 18 in the Spotlight Poetry Series, is his first full-length collection in a decade, as well as the first to follow-up to his well-received memoir Can It!Written in a distinctive mix of New York quotidian and post-Language abstraction, More Gone documents the poet’s search for domestic tranquility amidst the city that never sleeps. Berrigan draws on a variety of materials, from songs to found language, assembling them into poems of oblique humor and wry perspective on the challenges of everyday existence. These poems aren’t anecdotes or confessions so much as objects in their own right, even as they remain rooted in a recognizable urban landscape: “Mostly, the city is begging for love, grieving, / or telling us to back the fuck off.”"In More Gone, Eddie Berrigan shows so much writing savvy it has long sleeves, on which he wears his heart. There are poems with strategic non sequiturs which yield an inherent logic that convinces and leads to unfamiliar perceptions. There are multi-line riffs during which he works the count, throwing three or four different pitches. The last will look like a fastball, but it's a slider, low and away, and down you go. In simpler compositions he redirects you with subtle shifts of time and context. He includes himself, which gives a poem its worth. A vulnerable and movingly confident self. He impresses with deep impressions."—John Godfrey"The language employed in Edmund Berrigan's More Gone infuses itself on the lateral plane, variegated as it is by glints from particulars that rely 'on sensory input to motion.' He teases beauty out of terminus via tenuous electrification. One feels clarity evince itself through an opaque psychic transparency, a transparency that magically filters lingual seepage. Thus, our consciousness is marked by an incremental elevation providing us with an experience of language that engages our capacity to cast greater light on the stark complexity that we optically imbibe as daily reality."—Will Alexander"Edmund Berrigan's poems may be 'more gone,' but they are also more here. 'Anxious, patient and sentient,' they happen at an intimate core of self, family, community, and world, webbing out in all our neighboring shades and activities of being, where experience glitches and knits. They are rollercoastery, beautiful, knowing, revelatory, and real."—Eleni Sikelianos
218 kr
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A monumental event in American poetry, Get the Money! brings together the essential prose writings of iconic New York School poet Ted Berrigan.“Ted Berrigan was a leader of the New York School; his crazy energy embodied that movement and the city itself.”—John Ashbery, author of Self-Portrait in a Convex Mirror“Get the Money!” was Ted Berrigan’s mantra for the paid writing gigs he took on in support of his career as a poet. This long-awaited collection of his essential prose draws upon the many essays, reviews, introductions, and other texts he produced for hire, as well as material from his journals, travelogues, and assorted, unclassifiable creative texts. Get the Money! documents Berrigan’s innovative poetics and techniques, as well as the creative milieu of poets—centered around New York’s Poetry Project—for whom he served as both nurturer and catalyst. Highlights include his journals from the ’60s, depicting his early poetic discoveries and bohemian activities in New York; the previously unpublished “Some Notes About ‘C,’” an account of his mimeo magazine that serves as a de facto memoir of the early days of the second-generation New York School; a moving and prescient obituary, “Frank O’Hara Dead at 40”; book “reviews” consisting of poems entirely collaged from lines in the book; art reviews of friends and collaborators like Joe Brainard, George Schneeman, and Jane Freilicher; and his notorious “Interviews” with John Cage and John Ashbery, both of which were completely fabricated. Get the Money! provides a view into the development of Berrigan’s aesthetics in real time, as he captures the heady excitement of the era and champions the poets and artists he loves.Praise for Get the Money!:"Get the Money! captures the esprit de corps of the particular community close to Ted’s door on St Mark’s Place. This book of prose with its nimble lift, tinged with intimacy, wit, and perception is a welcome addition to the second generation NY School canon. Ted often went hungry but could make a few dollars with the short reviews. One walks the rounds with Ted on his 'beat': Love, poetry, gossip, art. Telling it like it is. Strolling into artist studios, galleries, poets’ modest digs, and into our hearts."—Anne Waldman, author of Trickster Feminism"Ted was my mentor, my teacher of America and its poetry, and I often quote him. He was an oral genius and I have regretted not writing down everything he said to me. Now I have this collection of journals, critical writing on art, aphorisms, and correspondence. It makes for a grand portrait of the poet who charmed my whole generation. Ted Berrigan is alive in this book in ways that no one could guess."—Andrei Codrescu, author of Too Late for Nightmares"It’s always a significant occasion when we have an edition of a poets prose. Get the Money! offers us an important window into Ted Berrigan’s laboratory, his no bullshit attitude, his class awareness, his gorgeous sentimentality, and his disarming anarchic humor. This book is what anyone could hope it would be: funny, tender, brilliant, intimate, original, alive."—Peter Gizzi, author of Now It's Dark"Ted Berrigan's voice has always been instantly familiar to me so Get the Money! feels less like a reading experience and more like taking a long walk with my favorite poet, then buying him a drink someplace and letting him talk. The pieces collected here offer a superhuman range of formal invention. … Berrigan's prose is often loose and lyrical, hovering somewhere between blogging, letter writing, texting, and transcription. His deadpan bravura and sudden dismissiveness are consistently hilarious. Decades after his death Berrigan remains way ahead of his time. I think Robert Creeley said it best, 'The Bell rings / Ted is ready'."—Cedar Sigo, author of All This Time