scholarly journals HOFER, Matthew, and Michael GOLSTON, eds. 2019. The L=A=N=G=U=A=G=E Letters: Selected 1970s Correspondence of Bruce Andrews, Charles Bernstein, and Ron Silliman.

2020 ◽  
Vol 13 (1) ◽  
pp. 231-36
Author(s):  
Solveig Daugaard
boundary 2 ◽  
2021 ◽  
Vol 48 (4) ◽  
pp. 79-82
Author(s):  
Charles Bernstein

Abstract In 2018, Mexican poet Alí Calderón interviewed Charles Bernstein for his influential web magazine Círculo de poesía. The interview is published here in English for the first time. Bernstein addresses the poetics of “hybridity” and the possibilities for poetic disruption. The discussion ends with Bernstein's then new poem, written for John Ashbery on the day he died.


2018 ◽  
Author(s):  
Charles Bernstein ◽  
Keyword(s):  

"Cada vez más apretada en su presentación, la poesía de Charles Bernstein en la última década no abandona los múltiples vectores de referencia de cada palabra. Esto es, se sigue oponiendo a las normas culturales y lingüísticas, pero con un compromiso mayor, de acuerdo a sus palabras, con el intercambio, la interacción, la comunicación y la comunidad". Tomado del Exordio escrito por Enrique Winter


boundary 2 ◽  
2021 ◽  
Vol 48 (4) ◽  
pp. 163-183
Author(s):  
Yi Feng

Abstract As a prominent representative figure of American Language poetry, Charles Bernstein has incorporated many themes concerning “nothingness” into his poetry. Contrary to the traditional Western philosophy that defines the concept of “nothingness” as meaninglessness and agnosticism, “nothingness” in Bernstein's poetics is endowed with profound poetic and aesthetic implications. Bernstein studied the works of Zen-Taoist philosophy in his early years. Understanding the Zen-Taoist connotations of “nothingness” is an important new dimension in interpreting Bernstein's echopoetics. Bernstein integrates the anti-traditional ideas in Zen-Taoist philosophy and aesthetics with the experiment of American avant-garde poetry. “The transformation between Xu (emptiness) and Shi (Being),” the beauty of “speechlessness,” and the expression of “defamiliarization” show the “epiphany” of language and the “nature” of language. The Chinese traditional Zen-Taoist philosophy is an important part of Bernstein's echopoetics.


PMLA ◽  
2017 ◽  
Vol 132 (1) ◽  
pp. 198-205 ◽  
Author(s):  
Gertrude Stein ◽  
Birgit Van Puymbroeck

Much has been written about Stein's politics ever since it was revealed, in 1996, that Stein had translated many of Philippe Pétain's speeches (Burns and Dydo, “Gertrude Stein”; Van Dusen). If some critics accuse Stein of collaboration with Vichy France, others defend her by pointing out contradictory evidence regarding her behavior during the war years. Barbara Will, in Unlikely Collaboration; Gertrude Stein, Bernard Fay, and the Vichy Dilemma (2011), casts Stein in the role of pro-Vichy thinker whose support of Pétain was “heartfelt and dogged” (118). In addition to translating Pétain's speeches, Stein was a close friend of Bernard Fay, who, as head of the Bibliothèque Nationale de France, was an official high up in the administration of Vichy France. Charles Bernstein, Edward Burns, and Joan Retallack take up Stein's defense in jacket2's online dossier Gertrude Stein's War Years; Setting the Record Straight (2012). They argue that no conclusive evidence ties Stein explicitly to Vichy France (Burns) and highlight the irony in some of her statements—for instance, that Hitler deserved the Nobel Peace Prize (Bernstein, “Gertrude Stein”; Retallack). Furthermore, Stein published her writing in both the Vichy-sponsored magazine Patrie (“Fatherland”) and the anti-Nazi and anti-Vichy journals Confluences, Fontaine (“Fountain”), and L'arbalète (“The Cross-Bow”) during the war years (Burns and Dydo, “Three Lives”; Burns). She sympathizes with the French maquis in her postwar memoir Wars I Have Seen and writes about the inner workings of the Resistance in her play In Savoy; or, Yes Is for a Very Young Man (Wagner-Martin).


Sign in / Sign up

Export Citation Format

Share Document