Search results for ""Author Anselm Berrigan""

Berrigan's audience is deservedly broad and loyal: he is among the most respected and well-known poets writing in America today, both for his work, which unceasingly challenges language and the role of the writer-citizen, and for the many hats he wears as editor, educator, and curator. Berrigan comes from a family intimately tied to 20th century poetics: his mother is acclaimed poet Alice Notley, his father, the acclaimed late poet Ted Berrigan. Berrigan served as Artistic Director of the legendary Poetry Project at St. Mark’s Church (2004-2007), and hosted its venerated and well-attended Wednesday Night Reading Series. He is poetry editor for The Brooklyn Rail and Co-Chair of Writing at the Milton Avery Graduate School of the Arts. He also teaches at Pratt Institute and Brooklyn College. Berrigan was a New York State Foundation for the Arts fellow in Poetry, and has received two grants from the Fund for Poetry. Notes From Irrelevance has nearly limitless possibilities for teaching; its multiple points of entry including the juxtaposition of love for and mistrust of language, its interest in philosophy, politics, and the subjectivity of being in the world, all of which are very current topics of discussion in poetry today.

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"Hoa Nguyen's poems probe dailiness to divorce us from our base assumptions about how language might present the world to us. Her poems comprise some of the most inviting lyrics I've found in a living poet."--Bookslut "Phrase by phrase Nguyen's work can be conversational, playful, funny, angry, acutely self-aware, and loaded with sensory information."--Anselm Berrigan, from the introduction Red Juice represents a decade of poems written roughly between 1998 and 2008, previously only available in small-run handmade chapbooks, journals, and out-of-print books. This collection of early poems by Vietnamese American poet Hoa Nguyen showcases her feminist ecopoetics and unique style, all lyrical in the post-modern tradition. [BUDDHA'S EARS ARE DROOPY TOUCH HIS SHOULDERS] Buddha's ears are droopy touch his shoulders as scarves fly out of windows and I shriek at the lotus of enlightenment Travel to Free Street past Waco to the hole in the Earth wearing water I'm aiming my mouth for apple pie Born in the Mekong Delta and raised in the Washington, DC, area, Hoa Nguyen studied Poetics at New College of California in San Francisco. With the poet Dale Smith, Nguyen founded Skanky Possum, a poetry journal and book imprint. She is the author of eight poetry books and chapbooks and lives in Toronto, Ontario, where she teaches poetics at Ryerson University and curates a reading series.

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A monumental event in American poetry, Get the Money! brings together the essential prose writings of iconic New York School poet Ted Berrigan.“Ted Berrigan was a leader of the New York School; his crazy energy embodied that movement and the city itself.”—John Ashbery, author of Self-Portrait in a Convex Mirror“Get the Money!” was Ted Berrigan’s mantra for the paid writing gigs he took on in support of his career as a poet. This long-awaited collection of his essential prose draws upon the many essays, reviews, introductions, and other texts he produced for hire, as well as material from his journals, travelogues, and assorted, unclassifiable creative texts. Get the Money! documents Berrigan’s innovative poetics and techniques, as well as the creative milieu of poets—centered around New York’s Poetry Project—for whom he served as both nurturer and catalyst. Highlights include his journals from the ’60s, depicting his early poetic discoveries and bohemian activities in New York; the previously unpublished “Some Notes About ‘C,’” an account of his mimeo magazine that serves as a de facto memoir of the early days of the second-generation New York School; a moving and prescient obituary, “Frank O’Hara Dead at 40”; book “reviews” consisting of poems entirely collaged from lines in the book; art reviews of friends and collaborators like Joe Brainard, George Schneeman, and Jane Freilicher; and his notorious “Interviews” with John Cage and John Ashbery, both of which were completely fabricated. Get the Money! provides a view into the development of Berrigan’s aesthetics in real time, as he captures the heady excitement of the era and champions the poets and artists he loves.Praise for Get the Money!:"Get the Money! captures the esprit de corps of the particular community close to Ted’s door on St Mark’s Place. This book of prose with its nimble lift, tinged with intimacy, wit, and perception is a welcome addition to the second generation NY School canon. Ted often went hungry but could make a few dollars with the short reviews. One walks the rounds with Ted on his 'beat': Love, poetry, gossip, art. Telling it like it is. Strolling into artist studios, galleries, poets’ modest digs, and into our hearts."—Anne Waldman, author of Trickster Feminism"Ted was my mentor, my teacher of America and its poetry, and I often quote him. He was an oral genius and I have regretted not writing down everything he said to me. Now I have this collection of journals, critical writing on art, aphorisms, and correspondence. It makes for a grand portrait of the poet who charmed my whole generation. Ted Berrigan is alive in this book in ways that no one could guess."—Andrei Codrescu, author of Too Late for Nightmares"It’s always a significant occasion when we have an edition of a poets prose. Get the Money! offers us an important window into Ted Berrigan’s laboratory, his no bullshit attitude, his class awareness, his gorgeous sentimentality, and his disarming anarchic humor. This book is what anyone could hope it would be: funny, tender, brilliant, intimate, original, alive."—Peter Gizzi, author of Now It's Dark"Ted Berrigan's voice has always been instantly familiar to me so Get the Money! feels less like a reading experience and more like taking a long walk with my favorite poet, then buying him a drink someplace and letting him talk. The pieces collected here offer a superhuman range of formal invention. … Berrigan's prose is often loose and lyrical, hovering somewhere between blogging, letter writing, texting, and transcription. His deadpan bravura and sudden dismissiveness are consistently hilarious. Decades after his death Berrigan remains way ahead of his time. I think Robert Creeley said it best, 'The Bell rings / Ted is ready'."—Cedar Sigo, author of All This Time

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