Regarded as one of Brazil’s leading poets, Régis Bonvicino, a constructivist poet, is in the fifth decade of his literary career, having published his poetry collection in 2010, as well as an anthology of selected poems in English translation in 2017. Bonvicino was part of a generation of Brazilian poets that emerged with the decline of concrete poetry and the dawning of Tropicalism in the 1970s, coming of age in the 1980s and 90s. His work has gone through a number of transformations, a fruitful evolution.
A tireless innovator, Bonvicino first engaged in experiments that blended visuality, vernacular language, and popular culture, developing in later years into a sparse, linguistically self-conscious poetics of close observation, shaped by the American experimental poetry. As a native and life-long resident of the multicultural megalopolis of São Paulo, Bonvicino’s poetry likewise reflects the condition of contemporary urban subjects in a dystopian society. Bonvicino is one of a handful of contemporary Brazilian poets whose work has been recurrently translated and published abroad, attesting to his international reputation. As the Belgian poet Michel Delville sums it up:
“his poetry derives its extraordinary intensity from a renewed attention to the act of looking itself, from the contemplation of relationships and contraries, and from the desire to delight the imagination along the lines of disjunction, extension, and regeneration. Régis Bonvicino is certainly one of the most challenging and interesting poets of the last twenty-five years”
The child of Alva Flôr Ferreira de Oliveira and Oday Rodrigues Bonvicino, Régis Rodrigues Bonvicino was born in São Paulo on February 25th, 1955, city where he spent his childhood. He attended the elementary school, Escola Nossa Senhora das Graças, and the secondary school, Colégio Santa Cruz. Bonvicino recalls the freedom he enjoyed while growing up in “a large, yet civilized” São Paulo, then a city where one could play soccer on the streets, and safely roam its various districts. Bonvicino attended the Law School at the University of São Paulo, graduating in 1978.
Artistically, he was passionate about Italian Neorealism and its main film-makers, including Roberto Rosselini, Federico Fellini, Michangelo Antonioni, Pier Paolo Pasolini, and Vittorio De Sica. Among his literary icons, Bonvicino recalls clipping Ezra Pound’s obituary from a newspaper in 1972. He read and admired Carlos Drummond de Andrade, Fernando Pessoa, Mário de Sá Carneiro, and João Cabral de Melo Neto, but the poet he loved the most was Cesário Verde.
Bonvicino made his writing debut in 1975, publishing his work in the newspaper Jornal do Arena. He began working as a columnist for São Paulo’s newspapers and magazines such as Jornal da Tarde, Isto É, and Folha de S. Paulo, an occupation he carried out until 1989. Later, in the mid-seventies, he founded the journal Poesiaem G. This was followed in 1976 by the innovative, albeit ephemeral, review Qorpo estranho: revista de criação intersemiótica, which two issues Bonvicino coedited with the Spanish émigré artist, Julio Plaza. These unpretentious magazines were fundamental in granting space to three generations of poets who, during Brazil’s military rule, were excluded from the cultural supplements of major Brazilian newspapers such as Jornal do Brasil and O Estado de S. Paulo.
Bonvicino put out his first self-published poetry book, Bicho papel (1975), in a modest edition limited to 300 copies. More self-published work appeared soon after: Régis Hotel in 1978, where he experimented with pop music, humor, comic strips, and slang, and Tótem: para Décio Pignatari, in 1979, a poetry chapbook dedicated to Pignatari, another important member of the Brazilian concrete poetry movement. Tótem was a recreation of an iconic poem by Pignatari, and it was proposed as a critical response to concrete poetry, an attitude that would characterize Bonvicino’s early work. In a review of Régis Hotel (Polo Cultural, Curitiba, May 18th, 1978), Paulo Leminski, a Brazilian poet Bonvicino later came to befriend and admire, noted that Bonvicino’s early work, as seen in the poem “?avolho” (Fig. 1), revealed an “attitude of philosophical of perplexity with concretism.” A manipulation of the word lavolho, a brand name of eye drops in Brazil, the poem poked fun at language of advertising, as well as at concrete poetry’s emphasis on mass and visual culture. And while other pieces exhibited a similar critical stance, Bonvicino saw Régis Hotel as “an attempt to think the poet’s function in an industrial and cosmic city” (quoted by Leminski, “Régis Hotel” 102), a remark that echoes modernism’s emphasis on urban experience. Yet Bonvicino’s dialogue with other poetic traditions is attested by the new influences (“guests” as Leminski puts it) that cross paths in Régis Hotel. Their presence is responsible for (as well as witness to) the experimental and intertextual flavor of the collection.
Bonvicino took his first trip abroad in 1977, visiting Portugal, Spain, Italy, England, and New York. Bonvicino has two children (first marriage), João Rodrigues da Costa Bonvicino, born in 1979, and Marcelo Flores Rodrigues da Costa Bonvicino, born in 1987. Yet that year 1979, a traumatic event took place in Bonvicino’s life: his mother, Alva Flôr, committed suicide. In this same period, Bonvicino began a 10-year, mostly epistolary friendship with Paulo Leminski, who lived in Curitiba, and who inspired movements such as Tropicalism and Poesia Marginal.
The 1980s was also a period when Bonvicino became more intensely involved in the visual arts, collaborating with the artist Regina Silveira on Do Grapefruit (1981), an artist’s book with translations of Yoko Ono by Bonvicino, and artwork by Silveira. He subsequently also authored prefaces for art catalogs, including one about the work of the Argentinean artist León Ferrari (1989). In this period, Bonvicino was a parliamentary advisor in Brasília during the 1987-88 Constituent Assembly.
Bonvicino’s next book, Sósia da cópia (1983), brings together elements and figures of History as disparate as the Beatles, Jimi Hendrix, Latin proverbs, Galician troubadour poetry and Wallace Stevens, radicalizing the appropriation impulse of the previous collection. The book also contains an important autobiographical poem, “vida, paixão e praga de rb” (“rb’s life, passion, and cursing”), which Sebastião Uchoa Leite saw as a “self-flagellating portrait of the poet as a diluter (in Pound’s sense)”, ultimately provocative in its characterization of “the poet as a ‘mere curse,’ imitator of imitations” (Leia livros, June 1983). Leminski called it “a lively and creative discussion of the very concept of originality” (Revista VEJA, July 13th, 1983). Among the authors assimilated and translated, one held special interest for Bonvicino, the French symbolist, Jules Laforgue, whose work he translated and published in 1989 in the volume Litanias da lua, inaugurating Bonvicino’s output as poetry translator. In 1984, Régis also edited and published Desbragada, an anthology of the work by the Alagoan visual and experimental poet, Edgard Braga, whose calligraphic poetry he admired for its inspired spontaneity and idiosyncratic exploration.
In its multifaceted experimental temper yet critical stance, Sósia da cópia, already points the way to Bonvicino’s work of the next phase. Más companhias (1987), in the author’s view an “explosive book with very intense poems [that] caused scandal”, is a slim, unpaged book, which explores the question of authorship. Más companhias constituted a transition from these early works to the tone of 33 poemas. Published in 1990, the book 33 poemas reveals a departure from Bonvicino’s earlier work in two significant ways: the emphasis on visual puns disappears, and poems and assonant rhyme become the structuring agents. The “foreign” element is treated less as a citation or literary “loan” than as a prompt for an original poem. Content-wise, poems concentrate more on the observation of the natural world, although the city is still present in unexpected ways. The book 33 poemas establishes a dialogue with its surroundings, where objects become signs that alter the being-in-the-world of the subject. The book 33 poemas earned Bonvicino the prestigious Jabuti Prize in 1991.
In 1992, Bonvicino married the psychoanalyst Darly Menconi, with whom he has two children, Bruna Menconi Bonvicino (1992-2018), and Felipe Menconi Bonvicino, born in 2010. In 1992, Bonvicino published Uma carta uma brasa através: cartas a Régis Bonvicino, 1976-1981, a collection of the letters he received from Leminski. His letters to Leminski were not preserved, so they were not included, although a later edition added critical material and an updated introduction by Bonvicino.
From the 1990s on, Bonvicino began to establish a reputation abroad through his participation in poetry readings, notably, in Buenos Aires (1990), the Miami Book Fair (1992), and Copenhagen (1993). On a trip to France in 1995, he participated in the Third Val-de-Marne International Biennial Poetry Festival, subsequently also giving readings in Paris (Maison de la Amérique Latine) and Marseille (International Poetry Center).
Bonvicino’s next book Outros poemas (1993) signaled a return to writing in lines, mostly avoiding non-traditional textual layout, a move away from his early days of visual exuberance. In an interview for the review Caracol-Viola 43 (1998), Bonvicino characterized this choice as an alternative to the binary opposition between visual poetry and traditional verse:
I’m not fond of the visual poetry experiments that are carried out today. Forty or thirty years ago a visual poem had a sense of rupture. Today, it’s an imitation of advertising. It’s uncritical […] However, I also don’t like the idea of the “line of verse” as a unit for poetry –in any case, not for mine. The way out of (traditional) “verse” is not necessarily visual poetry (…) I write in lines –not paying attention to meter or to blank verse but paying attention instead to the patterns of breathing or the rhythms of the nervous system, for example.
In the early to mid-1990s, Bonvicino published a children’s book dedicated to his children, Num zoológico de letras (1994). He also re-released his early work in a single volume, Primeiro tempo: reunindo os livros Sósia da cópia, Régis Hotel e Bicho papel (1995), and put out a translation of the Argentinean avant-garde poet Oliverio Girondo, A pupila do zero = En la masmédula (1995).
Starting with Outros poemas, Bonvicino’s poetry had begun to stray deliberately from the obvious, containing gestures towards metaphor and comparisons that are never completely explicit. In their conciseness and brevity—images sketched out in a couple of words—these texts harken back to haiku poetry and minimalist aesthetics, thematically balancing direct observations of nature in the urban landscape with more abstract philosophical reflections.
In Ossos de borboleta (1996) the mood is much more contemplative and less playful than in earlier works. A dialogue with the work of the American poet Robert Creeley is present in the short lines of poetry, specifically in “Março (2)” (March ), a minimalist poem concerned with basic differences and oppositions, being equally noticeable in other brief urban vignettes. The volume caught the attention of critics both in Brazil and abroad. The American poetry critic, Marjorie Perloff, praised the book, also noting how this new poetry reflected Bonvicino’s contact with contemporary American poets:
Bonvicino’s spare, minimal, taut, and brilliantly articulated new lyrics are every bit concerned with the difference that “butterfly bones” can make. […] And he also knows – having put himself through a “school” with such U.S. masters as William Carlos Williams, Robert Creeley, George Oppen – that […] the small words – entre, como, alguém – are as important as their more pretentious cousins, the big nouns that claim to point to the great truths about experience.
Indeed, for a few years, Bonvicino had been seriously exploring modernist and contemporary American poets in search of fresh perspectives on poetics. In 1996, he joined Michael Palmer at a reading at San Francisco State University. That same year, Bonvicino published book-length translations of poetry by Palmer (Passagens) and Robert Creeley (Salve!). One more volume of translations of Creeley’s poetry, A um: poemas = As one, came out in 1997, as did a selection of poems by Guy Bennett, Charles Bernstein, Norma Cole, and Douglas Messerli entitled Duetos: 4 poetas norte-americano contemporâneos. Moreover, in the year 1996, Bonvicino also published Together 1996 (um poema: vozes), a renga book-poem where Bonvicino invited 28 poets to contribute a segment.
Bonvicino’s sustained interest in the North-South poetic dialogue also included efforts at disseminating Brazilian poetry in the United States. To that end, he collaborated with Palmer on the anthology, Nothing the Sun Could Not Explain: 20 Contemporary Brazilian Poets, published in the United States in 1997. The book was reissued in 2003 as The PIP Anthology of World Poetry of the 20th Century Volume 3. The American poet Guy Bennett praised the book as “examining issues of language and writing, and, by so doing, dialoguing in a wider sense with other cultures” (Folha de S. Paulo, 5 July 1997). This was the first effort since Elisabeth Bishop’s An Anthology of Twentieth-Century Brazilian Poetry (1972), to expose American, and, more widely, English-speaking audiences, to a selection of contemporary poets from Brazil.
In 1998, Bonvicino made an appearance at the Segue Performance Foundation in New York by the side of Charles Bernstein, the American experimental poet and founder of the influential L=A=N=G=U=A=G=E movement. In 1999, Bonvicino traveled to give readings at the University of Santiago de Compostela, Spain. The chapbook Me transformo ou O Filho de Sêmele, a kind of protest poem against the chaos in the Balkans, came out that year, with translations into 6 languages, expressly printed for the Compostela readings.
On the home front, the year of 1999 was a very productive one for Bonvicino. A second, expanded edition of Leminski’s letters to Bonvicino appeared under the title Envie meu dicionário: cartas e alguma crítica. Bonvicino also published Primeiras palavras, a translated volume of works by the American poet, playwright, and publisher, Douglas Messerli. Messerli’s now defunct Sun and Moon Press had published the Brazilian poetry anthologies previously edited by Bonvicino, and its successor publishing company, Green Integer, issued two volumes of Bonvicino’s poetry in English translation. The year of 1999 also saw the appearance of Céu-eclipse (Sky-eclipse, 1999), Bonvicino’s next poetry book. It was praised by Aurora Bernardini (Jornal da Tarde, September 4th, 1999) as “one of the predictions (perhaps) of the new millennium”. Bernardini further points out that Bonvicino’s “new literalism” explored “philosophical challenges.” In his review, Wilson Bueno noted how Bonvicino “strives in a direction that, generously, seems to indicate paths,” stressing language’s “capacity to reorder the world in us, and that the world changes between the light and the shadow of one more day” (Gazeta do Povo, August 29th, 1999).
Translated by Michael Palmer and others, Bonvicino’s first book in English, Sky-eclipse: Selected Poems, came out in 2000. The following year, he published a multifaceted volume of collaborations with Palmer, Cadenciando-um-ning, um samba, para o outro: poemas, traduções, diálogos (2001). The book’s title comes from a line in a poem by Palmer where he recounts a visit to São Paulo in May 1997: “the animal alphabet/ passed overhead /with his twenty-three wings / rhythm-a-ning, a samba for the dead.” The poem suggested a samba motif for Bonvicino, who understood the project not as a “translation” but rather as a “dialogue of mutual risks.” The volume received variegated criticism by the critics. Marjorie Perloff praised in the preface to the book its contribution to the insufficient dialogue between North and South America, highlighting how it evidenced a “delicate and lovely balance”. Nevertheless, in Brazil, Bonvicino’s habit of seeking connections abroad many times faced negative reactions.
As a columnist, Bonvicino continued contributing to Folha de S. Paulo, and in 2000 he began his collaboration with O Estado de S. Paulo. That year, he did readings with Michael Palmer in Iowa City and in Chicago. In May of 2001 he traveled to Coimbra, Portugal, for the IV International Meeting of Poets at the University of Coimbra. The following year, Lindero nuevo vedado: antologia poética, a selection of his works, was published in Portugal.
In 2000, Bonvicino founded Sibila: Revista de Poesia e Cultura, a poetry and culture review that he codirected with Charles Bernstein. Starting in 2001 as a printed review, Sibila became an electronic review in 2006 and a website after 2007. In 2002, Hilo de piedra, a chapbook containing the Spanish translation of Bonvicino’s poetry was published by the Sevillian homonymous review Sibila, which holds no connection to Bonvicino’s own Sibila review. Bonvicino’s next two books Remorso do cosmos (de ter vindo ao sol) (Remorse of the Cosmos [for Having Arrived at the Sun], 2003) and Página orfã (Orphan Page, 2007) are collections where images and language from postmodern media together with an awareness of global threats collide with depictions of the harsh reality of São Paulo’s urban life. Alcir Pécora saw “a cosmos in a state of bellicose calamity […] persecutory […] sleepless […] bound by rigid and oppressive boundaries” (Caderno Mais! Folha de S. Paulo, January 2004). Página órfã’s montage techniques are based on assembling pieces from urban scrapheaps and from the junkyard language, to expose local and global violence. Alcides Villaça saw in it echoes of an “impressive vitalism in the style of Ferreira Gullar” but without this last ideology or profession of aesthetic faith (Folha de S. Paulo, March 31st, 2007). Página órfã garnered substantial critical attention in the press.
Bonvicino took part in the Mexico City Book Fair in 2004. A selection of his poetry in Spanish, Poemas, 1990-2004, came out in Mexico in 2006, while in 2009 another book in Spanish translation, Hamster highway, appeared in the artisanal “cartonera” publisher, Yiyi Jambo, from Asunción, Paraguay. In 2007 he gave readings in Santiago de Chile and Barcelona. Um barco remenda o mar: Dez poetas chineses contemporâneos (2007), edited and translated by Yao Feng and Régis Bonvicino, was a pioneering anthology of contemporary Chinese poets. Bonvicino had met Yao Feng, a poet from Macau and the translator of Fernando Pessoa into Chinese, in 1999, and they collaborated on the translations for the anthology.
Bonvicino authored an online column for Portal iG between 2008 and 2009. In 2009, at the invitation of Charles Bernstein, Bonvicino gave readings at the University of Pennsylvania, in Philadelphia, and at the Poets House of New York City. Bonvicino’s book-length translation of Bernstein’s poetry, Charles Bernstein, Histórias da Guerra had come out a year earlier, in 2008.
Bonvicino published his collected poems, Até agora: poemas reunidos with the official publishing house of the State of São Paulo in 2010, an acknowledgment of his stature as a poet. The collection was received favorably, with numerous reviews in major newspapers. For Aurora Bernardini, the publication of Bonvicino’s collected poems confirmed him as “the most prominent Brazilian poet of his generation” (Folha de S. Paulo date), and Franklin Alves Dassie, zeroing in on the recurring theme of entrapment, called Bonvicino’s oeuvre “one of the most intriguing of the Brazilian poetry scene” because of its ability to create “a space for intervention” and eventually suggesting “a way out”, even if only as a potentiality. (O Globo [Caderno Prosa e Verso] May 7th, 2011).
In 2011 and 2013 Bonvicino traveled through the southeast of China. In 2011, Lan ci zhuan, a volume of his poetry translated by Bei Dao and Yao Feng, among others, was published in Hong Kong. In 2013, he was invited by Yao Feng to participate in Rota das Letras-Festival Literário de Macau, the first and largest meeting of writers from China and Lusophone countries. The poems in his subsequent volume Estado crítico (2013) are inspired by both Bonvicino’s trips to China, as well as by a critical reflection on the precariousness of life in the twenty-first century. For Cândido Rolim, Estado crítico presents “poetry as an agonizing semiotic model, a discourse that presents itself on irreparable grounds — a precarious now in crisis, a suspicious mirror of the world (Germina Literatura, June 2015).
Bonvicino’s most recent publication is a second book in English, Beyond the Wall: New Selected Poems, translated by Charles Bernstein, Odile Cisneros, and Thérèse Bachand (2017). Marcelo Lotufo, writing for Brasil/Brazil (v.30, 2017), noted that in this collection “Bonvicino reminds us that all that is solid still melts into air, and capitalism is still capitalism, built on fake beliefs, ever-rising inequalities, and environmental crimes. The world is more Abu Ghraib and Aleppo than Berkeley and Gramercy Park.” According to the Indian poet K K Srivastava’s review of Beyond The Wall: “Bonvicino acts more like a painter, a thinking painter lost in lording over a literary empire only a few dare tread and even a fewer succeed. His world is a lost world, its retrieval an ongoing enterprise, and his book a gigantic effort to place the retrieved world on an even plane. The poet admits, and very correctly, in ‘Untitled’ that ‘Almost no one sees/what I see in words/byzantine iconoclasm/the clock reads midnight or midday?’ Reason good enough for him to pen in ‘Birthday’- ‘I have been overkilled by my peers/what do I say/enigma?’ Bonvicino comes very close to Samuel Beckett in terms of the latter’s visionary qualities of looking beyond the unseeable. After finishing the book, certainly not meant for plebeians, I am reminded of Beckett’s play Footfalles, where one of May (M)’s lines reads ‘What age am I now?’ A really difficult book. But isn’t poetry supposed to be difficult? Otherwise, what is heaven for?”
The recent loss of life of his young 25-year-old daughter Bruna, who, following a long battle with borderline disorder, repeated the gesture committed by her grandmother, Bonvicino’s mother, 40 years before, will certainly add to the philosophical bewilderment already present in Bonvicino’s oeuvre. The poet has a solid trajectory behind him, and to judge from his restless curiosity and boundless energy, one is entitled to expect that his artistic output will, whatever tone it may come to assume, keep to the worldwide reputation it enjoys among poetry audiences.
Bonvicino’s poems have been translated into English, Hindi, Spanish, French, Chinese, Catalan, Dutch, Danish, among other languages.
University of Alberta
(25 February 1955 )
Bicho papel (São Paulo: Edições Greve, 1975);
Régis Hotel (São Paulo: Edições Groove, 1978);
Tótem: para Décio Pignatari. (São Paulo: Edições Groove, 1979);
Sósia da cópia (São Paulo: R. Bonvicino; Editora Max Limonad, 1983);
Desbragada (São Paulo: Editora Max Limonad, 1984);
Más companhias (São Paulo: Editora Olavobrás, 1987);
33 poemas (São Paulo: Iluminuras, 1990);
Uma carta uma brasa através: cartas a Régis Bonvicino, 1976-1981, by Paulo Leminski and Régis Bonvicino (São Paulo: Iluminuras, 1992);
Outros poemas (São Paulo: Iluminuras, 1993);
Num zoológico de letras (São Paulo: Maltese, 1994);
Primeiro tempo: reunindo os livros Sósia da cópia, Régis Hotel e Bicho papel (São Paulo: Editora Perspectiva, 1995);
Ossos de borboleta (São Paulo: Editora 34, 1996);
Céu-eclipse (São Paulo: Editora 34, 1999);
Envie meu dicionário: cartas e alguma crítica, by Paulo Leminski, Régis Bonvicino, and Tarso M. de Melo (São Paulo: Editora 34, 1999);
Sky-eclipse: Selected Poems, translated by Michael Palmer et al. (København; Los Angeles: Green Integer, 2000);
Cadenciando-um-ning, um samba, para o outro: poemas, traduções, diálogos, with Michael Palmer (Cotia, São Paulo: Ateliê Editorial, 2001);
Lindero nuevo vedado: antologia poética (Vila Nova Famalicão: Quasi Edições, 2002);
Remorso do cosmos: de ter vindo ao sol (Cotia, São Paulo: Ateliê Editorial, 2003);
Poemas, 1990-2004, translated by Rodolfo Mata and Odile Cisneros (México: Alforja Arte y Literatura; CONACULTA; FONCA, 2006);
Página órfã (São Paulo: Martins Fontes, 2007);
Hamster highway, translated by Edgar Pou and Cristino Bogado (Asunción: Yiyi Jambo, 2009);
Até agora: poemas reunidos (São Paulo: Imprensa Oficial, 2010);
Estado crítico (São Paulo: Hedra, 2013);
Beyond the Wall: New Selected Poems, translated by Charles Bernstein, Odile Cisneros, and Thérèse Bachand (København; Los Angeles: Green Integer, 2017);
Together 1996: (um poema, vozes), by Régis Bonvicino et al. (São Caetano do Sul, São Paulo: Ateliê Editorial, 1997);
Me transformo ou O Filho de Sêmele (Curitiba: Tigre do Espelho, 1999);
Me transformo ou O Filho de Sêmele, with translations by Inês Oseki-Dépré, Charles Perrone, Charles Bernstein, Odile Cisneros, Tomás Samek, Gorica Majstorovic, and Livia Apa (São Paulo, 1999)
Hilo de piedra, translated by Odile Cisneros (Seville: Sibila, 2002);
Entre (Colombes, France: Collectif Génération, 2009);
Yao Feng, Collector of Dusk, translated by Charles Bernstein and Régis Bonvicino (Fréjus: Collectif Génération, 2013);
Jules Laforgue, Litanias de lua (São Paulo: Iluminuras, 1989);
Oliverio Girondo, A pupila do zero = En la masmédula (São Paulo: Editora Iluminuras, 1995);
Michael Palmer, Passagens. (Ouro Preto, Minas Gerais: Gráfica Ouro Preto, 1996);
Robert Creeley, Salve! edited by Régis Bonvicino and Carlos Augusto Lacaz (São Paulo: Carols Baptisella, 1996);
Robert Creeley, A um: poemas = As one (São Caetano do Sul, São Paulo: Ateliê Editorial, 1997);
Guy Bennett, Charles Bernstein, Norma Cole, and Douglas Messerli, Duetos: 4 poetas norte-americano contemporáneos (Ponta Grossa; Florianópolis: Editora UEPG, 1997);
Douglas Messerli, Primeiras palavras, translated by Régis Bonvicino et al. (São Paulo: Ateliê Editorial, 1999);
Um barco remenda o mar: Dez poetas chineses contemporâneos, edited and translated by Yao Feng and Régis Bonvicino (São Paulo: Martins Fontes, 2007);
Charles Bernstein, Histórias da Guerra (São Paulo: Martins Editora, 2008);
SELECTED OTHER WORKS:
Poesiaem G, journal edited by Augusto de Campos, Lenora de Barros, Pedro Tavares de Lima, and Régis Bonvicino (São Paulo: Edições Greve, 1975);
Qorpo estranho: revista de criação intersemiótica, journal edited byJulio Plaza, Pedro Tavares de Lima and Régis Bonvicino (São Paulo: s.n., 1976);
Qorpo estranho: criação intersemiótica No. 2, journal edited by Julio Plaza and Régis Bonvicino (São Paulo: s.n., 1976);
Do Grapefruit, translations of texts by Yoko Ono with art by Regina Silveira (São Paulo: Edição dos artistas, 1981);
León Ferrari, Bíblia: Collages, preface by Régis Bonvicino (São Paulo: Edições EXU, 1989)
“Notas sobre Metaformose” in Metaformose: uma viagem pelo imaginário grego, by Paulo Leminski (São Paulo: Iluminuras, 1994);
Nelson Ascher, Régis Bonvicino, Haroldo de Campos, Duda Machado, Josely Vianna Baptista and Paulo Leminski, Desencontrários: 6 poetas brasileiros = Unencontraries: 6 Brazilian Poets (Curitiba: Fundação Cultural de Curitiba, 1995);
Nothing the Sun Could Not Explain: 20 Contemporary Brazilian Poets, edited by Michael Palmer and Régis Bonvicino (Los Angeles: Sun & Moon Press, 1997);
“The Displacement of the ‘Scholastic’: New Brazilian Poetry of Invention,” Boundary 2 26, no. 1 (1999): 54-58;
Sibila: Revista de Poesia e Cultura Nos. 0-11, journal edited by Régis Bonvicino et al. (São Paulo, 2001-2006; published electronically after 2007);
The PIP Anthology of World Poetry of the 20th Century Volume 3. Nothing the Sun Could Not Explain: 20 Brazilian Contemporary Poets, edited by Régis Bonvicino, Michael Palmer and Nelson Ascher (København; Los Angeles; St. Paul, Minn.: Green Integer, 2003);
“Tiempo sombrío,” “Letra,” and “Canción” in Leminskiana: antología variada, edited by Mario Cámara (Buenos Aires: Corregidor, 2005);
Raul Bopp, R. Vida e morte da antropofagia, preface by Régis Bonvicino (Rio de Janeiro: José Olympio, 2008);
Régis Bonvicino, Gilbert Chee Fun Fong, Jia’en Chen, Lucas Klein, Jiexian He, Beidao, Feng Yao, Charles Bernstein, Lan ci zhuan (Xianggang: Xianggang Zhong wen da xue chu ban she, 2011).