Amiri Baraka | STOP KILLER COPS

Amiri Baraka (Leroi Jones) During the Newark Riots, July 14-1967 [by Fred W. McDarrah]     Shortly after the 1965 publication of his novel The System of Dante’s Hell, Amiri Baraka – then still named LeRoi Jones – wondered in an interview whether the energies he had put into writing it might not have been better used to ‘devise a method for blowing up the White House’.  Sean Bonney     STOP KILLER COPS Gun flash beats the child’s head in, maniac teeth dance in a bloody grin blue lies, badge confessions, yng dude dead just beyond his mama’s arms, In…

D.S. Marriott | Response to Race and the Poetic Avant-Garde + Poems

  What is “avant-garde poetry”? is a question long on answers, if short on consensus. On the one hand, the notion of the avant-garde is invariably seen as a historical category. The history of modernism and the authority of certain authors converge here in a kind of hermeneutic presumption, as if the meanings and values of both constituted readymades. The avant-garde poet emerges as a figure (invariably male, invariably white) that history and culture no longer need to put in question. But on the other hand, those European and American avant-gardes posed a question about the relation between the reading…

Two Poets — Ida Börjel & Amiri Baraka

Ida Börjel is one of the most striking voices in contemporary poetry. Each of her much-praised and awarded collections forms a cohesively and rigoursly composed whole that is always rooted in extensive research and a strong thematic principle. Her collection “Miximum Ca’Canny; the Sabotage Manuals“ appears to be both a practical handbook and a philosophical study of the various ways the language of power and authority can be sabotaged, a recurring theme in Börjel’s poetry.

Nathaniel Mackey | Cante Moro

I would like to touch on the topic of “The New American Poetry“ where it opens onto matters we wouldn’t necessarily expect it to entail—not necessarily “new,” not necessarily “American,” not even necessarily “poetry.” What I’d like to touch on is the New American Poetry’s Spanish connection: Garcia Lorca’s meditation on the “dark sounds” of cante jondo, deep song, the quality and condition known as duende. I’ll be talking about that in relation to an array of “dark sounds” which bear upon a cross-cultural poetics intimated by the inclusion of Lorca’s “Theory and Function of the Duende” in The Poetics…