Pub Date : 2021-11-01DOI: 10.1215/01903659-9382271
Ian Probstein
The essay explores the work of Charles Bernstein in light of constant renewal. John Ashbery, as one of the brightest representatives of the New York School, and Charles Bernstein, as a representative of the language (L = A = N = G = U = A = G = E), have similar attitudes toward language. They have much in common in terms of poetics: in the rejection of loud phrases, prophetic statements, emotions, confessionalism, and certain self-centeredness. Poetry is a private matter for both. Both have poetics built on the “oddness that stays odd,” as Bernstein himself put it, paraphrasing Pound's “news that stays news.” Both are aimed at renovating the language, and the verses of both are built on fragmentation, collage, moving from one statement to another without preparation. However, in Ashbery, whose poems are surreal, these transitions are smoother, based on an apparent connection, what Bernstein calls “hypotaxis” or “associative parataxis.” In contrast, Bernstein's poetry is built on parataxis; it is “bumpy,” in the poet's own words.
本文从不断更新的角度探讨了查尔斯·伯恩斯坦的作品。约翰·阿什伯里是纽约学派最聪明的代表人物之一，查尔斯·伯恩斯坦是语言的代表人物（L = A. = N = G = U = A. = G = E） ，对语言有着相似的态度。他们在诗学方面有很多共同点：拒绝大声的短语、预言性的陈述、情感、忏悔主义和某种以自我为中心的观点。诗歌是双方的私事。正如伯恩斯坦自己所说，两者的诗学都建立在“保持奇怪的奇怪”之上，转述了庞德的“保持新闻的新闻”。两者都旨在更新语言，两者的诗歌都建立在碎片、拼贴的基础上，在没有准备的情况下从一种陈述转移到另一种陈述。然而，在阿什伯里，他的诗歌是超现实的，这些过渡是更平稳的，基于一种明显的联系，伯恩斯坦称之为“形合”或“联想意合”。相比之下，伯恩斯坦的诗歌是建立在意合之上的；用诗人自己的话说，这是“颠簸的”。
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382102
M. Perloff
This brief introduction to Charles Bernstein's work, given in Hangzhou, China, in November 2019, on the occasion of Bernstein's Distinguished Lectureship, discusses the basic principles of Language poetics as put forward in the early books Content's Dream and A Poetics. From the first, Bernstein emphasized the idea that poetry is not the expression of feeling but a constructivist art in which language is taken out of its normal context and recharged. In “Artifice of Absorption,” Bernstein insists that the poet uses all the tools at his command to create a new kind of absorption, arresting the reader's attention. Difficulty is thus inherent to poetry—a difficulty challenging the reader to rise to the challenge of what it means to read poetry. A few examples like “Standing Target” are discussed briefly.
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382243
Yi Feng
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.
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382060
Charles Bernstein
St. Petersburg new media artist, writer, literary scholar, and translator (PhD in literary theory from Herzen State University) Natalia Fedorova published this interview with Bernstein in Russian in Translit (Moscow), a key journal of innovative poetics, in 2013. Bernstein discusses his connection to Russian poets, starting with Arkadii Dragomoshchenko. He also addresses the way the Cold War torqued the reception of Russian modernist poetry, using Mandelstam as an example.
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382215
S. Howe
Remarks made at Charles Bernstein's retirement celebration at the Kelly Writers House, University of Pennsylvania, April 4, 2019.
2019年4月4日，查尔斯·伯恩斯坦在宾夕法尼亚大学凯利作家之家举行的退休庆典上发表的讲话。
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382187
A. Lang
Originally written as an afterword to a book-length translation of poems by Charles Bernstein, this piece was meant to introduce his recent poetry and poetics to a French audience. It does so by pondering the twin economic and nautical senses contained in the title Bernstein suggested for the collection: Poetry Bailout (in French, Renflouer la poésie). What is the value of poetry? What are its uses? These are questions which have underpinned Bernstein's work. In an early essay, adapting a statement by Simone Weil, Bernstein posited that poetry draws its social—or antisocial—power from the fact that “it is ceaselessly creating a scale of values ‘that is not of this world.’” One way it does that is by intensifying the experience of reading. Placing his recent poetics under the aegis of Poe, Bernstein has managed to balance poetry's social and aesthetic functions by cultivating the uses of aesthetics, reconciling pragmatism with unabashed aestheticism.
这篇文章最初是查尔斯·伯恩斯坦（Charles Bernstein）的一本长篇诗歌翻译的后记，旨在向法国观众介绍他最近的诗歌和诗学。它是通过思考伯恩斯坦为该集建议的标题《诗歌救援》（法语：Renflouer la poésie）中包含的经济和航海双重意义来做到这一点的。诗歌的价值是什么？它的用途是什么？这些问题支撑了伯恩斯坦的工作。伯恩斯坦在早期的一篇文章中引用了西蒙·威尔的一句话，认为诗歌的社会力量或反社会力量来自于“它不断创造一种‘不属于这个世界’的价值观。”实现这一点的一种方法是加强阅读体验。伯恩斯坦把他最近的诗学置于坡的庇护之下，通过培养美学的用途，调和实用主义和毫不掩饰的唯美主义，成功地平衡了诗歌的社会和美学功能。
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382285
Runa Bandyopadhyay
Charles Bernstein's pataquericalism is not just a poetics but a philosophy of life, a leftist way to wrench freedom from authority to recognize the actual face of reality that toggles us with hope and despair, to explore hitherto undreamed regions of the mind in order to acquire a new point of view—to inquire into language, into poetics, into life, into reality. This poetics indeed resonates with Barin Ghosal's Expansive Consciousness theory in the world of Bengali New Poetry. Both are inventive poetics of an eccentric centrifugal journey toward infinite possibilities with intuitive leaps to open up an infinite space. This is to interenact with the endless rhythm of the cosmic dance of energy of the universe to harmonize our relationship with Eastern mystic philosophy of Upanishad/Zen Buddhism as well as modern science. This essay is intended to find the quantum coherence between the voices/processes/thoughts of different poets, scientists, and philosophers of the East and West.
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382300
Yunte Huang
Composed as a series of improvisations, this is a modular essay that examines, ponders, and responds to the radical poetics of Charles Bernstein's work from multiple perspectives, including dysraphism, aphorism, wit, and echopoetics. It also situates Bernstein in the long tradition of innovative American poetics extending from Ezra Pound and Gertrude Stein to Charles Olson and Susan Howe.
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382328
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382074
Charles Bernstein
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年，墨西哥诗人AlíCalderón为其颇具影响力的网络杂志《Círculo de poesía》采访了查尔斯·伯恩斯坦。这篇采访首次以英文发表在这里。伯恩斯坦论述了“混合性”诗学和诗歌颠覆的可能性。讨论以伯恩斯坦在约翰·阿什伯里去世当天为他写的当时的新诗结束。
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