The Art of Adaptation

We, human beings, have been adapting since the dawn of time. We’ve adapted to live in the most diverse ecosystems and under the most different social-political regimes. There are humans who live in the scalding heat of the Sahara desert and in the paralyzing cold of the Antarctic region. There are humans who survive in the midst of the sprawling Amazon jungle and between the towering cement jungle of Manhattan. There are humans who have endured unimaginable hatred and who have thrived against insurmountable challenges. We, as a species, are all about evolving, changing and adapting. If there’s one art we’ve collectively mastered, is the art of adaptation.

The foundation of “The League of Independent Vietnamese Writers”

The founders of the League are at risk in signing the petition. It is very brave of them to ask for more freedom of expression, because the last time it happened, in the mid-1950s following military victory over the French, poets and writers who made such a request were treated very harshly, including imprisonment, loss of their privileged positions in the Writers Association, and not having their work published for the next 40 years.

Poems from Critical Condition (2013)

This poem
is unremarkable
not unlike the rest –
just for a moment,

illustrates, apathetically,
the past, it catches flies
pays interest
has no air sac

snakes, mice, thieves
scorn its grave
plush wolves howl,
its future is moot

it’s a blind bee and its mate wearing glasses
it’s tongue is no sponge
it’s antennae scent out Drummond
unable to see in the dark

Estado Crítico

Desde Página Órfã, radicalizada neste Estado Crítico, não vejo poesia que faça crítica mais implacável da poesia e, ao mesmo tempo, melhor se reafirme como poesia, do que a de Régis Bonvicino. E é assim não porque esses livros falem de poesia ou teorizem sobre a crise da poesia, mas porque se movem taticamente em torno de seus impasses, implantando-se num terreno no qual os versos ocupam as vias mais hostis da metrópole.

A partir dessas condições de implantação, a poesia de Régis opera três movimentos.

I wonna talk to you…

This work was originally published in Fulcrum 7 (2011). It responds to a work of mine collected in Recalculating, which is a transcription of an improvised poem I did for the Whitney. — Charles Bernstein • More than a year ago, Charles Bernstein sent me his piece called “Talk to Me,” which I understood as an […]

Poems by Maxwell Clark

Her Allow me to express her, readers of influence. Maybe she would speak for herself, if only you read her (more). Reading her permits us to approach her more in her uniqueness. It maps out her address. Maybe if you read her less, however, your love of her, as o all creation, would be […]

Recalculating by Charles Bernstein

Charles Bernstein expresses the aesthetics of Recalculating, his first collection of new poetry in seven years, partially through his translations — not necessarily through how he translates the works, but from what he translates. Lots of Baudelaire, including “Be Drunken” and “Venereal Muse,” and poems by Osip Mandelstam, Apollinaire, Catulus, and the more obscure Velimir Khlebnikov and Regis Bonvicino. Poems of darkness and daring, with the absolute thrust of “Catulus 85” and the Dada sound transformation of Khlebnikov’s “Incantation by Laughter.” Those familiar with Bernstein’s sometimes-confrontational criticism will see a direct connection between what he argues for in poetry and the poetry he translates and includes in this collection.

Macau e a Gruta de Camões

Mas discussões são essas de caráter puramente acadêmico, só interessando à investigação erudita. Se as tradições estão bem arraigadas e vivas, não será a demonstração de sua inexatidão histórica que as poderá destruir. É que não foi nas dissertações dos sábios que elas germinaram e medraram, nem é delas, mas do sentimento popular, que tiram a seiva. A Ilíada e a Odisseia hão de chamar-se sempre os poemas homéricos; e quando os infatigáveis sapadores que são os historiadores modernos chegarem à conclusão de que Shakespeare não existiu […]

Cheio de tudo: Paulo Leminski y el budismo zen

Como señalé al inicio, eran demasiadas las influencias mezcladas en su cabeza. Su vivencia del budismo fue ecléctica, y quizás a más de alguno le parezca una impostura o una provocación. Por momentos tiendo a pensar que en su escritura predominó mucho más el afán de un bufón o de un malabarista. En el caso del poema que he venido analizando, podemos pensar perfectamente en un publicista que recorta su eslogan para que sea más fácilmente recordable, o un editor que elimina el pie de una foto, para no obstruir su mensaje.