Search results for ""Author Anselm Berrigan""

The Poetry Project at St. Mark's Church was founded in 1966 for the overlapping circles of poets in the Lower East Side of New York. These interviews from The Poetry Project Newsletter form a kind of conversation over time between some of the late 20th century's most influential poets and artists, who have come together in this legendary venue over the past 50 years. Includes interviews with Charles North, Anne Waldman, Bernadette Mayer, David Rattray, Allen Ginsberg, Kenneth Koch, Harryette Mullen, Barbara Henning, David Henderson, Lisa Jarnot, Alice Notley, Ed Sanders, Samuel Delany, Harry Matthews, Victor Hernandez Cruz, Renee Gladman, Lorenzo Thomas, Fred Moten, Stan Brakhage, Alex Katz, Lewis Warsh, Ron Padgett, Maggie Nelson, Wayne Koestenbaum, Eileen Myles, and more. "I find it one of the liveliest points of communication in the American poetry world. There is an incredible excitement to come to the church and read one's poems to the many other poets who congregate there, drawn to the church by its own energy and thrust." --Donald Hall From the introduction, by Anselm Berrigan: For the poets closely involved with the Poetry Project since, and subsequent to, its inception, the interviews were an opportunity to speak directly to a community one could perceive as known, imaginary, expanding, unwieldy, intermittent, formative, desperately necessary, and sometimes peculiarly unsatisfying all at once. Community being the kind of term that often implies everything and nothing simultaneously, with the bottom falling out of the word depending on who happens to be wielding it. Poets can be particularly adept at using and exposing such terms.

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"For Brooklyn poet Anselm Berrigan, the political arrives in pieces, settling across his sprawling poems like dew or debris. Berrigan has always matched his experimental drive with a personable quality."--Michael Brodeur, Boston Globe "Anselm Berrigan's voice continues be one of the most refreshing in contemporary American poetry." --Virginia Konchan, Galatea Resurrects In Come in Alone, Anselm Berrigan plays with space like a painter with the prosody of a poet. Written as infinitely looping sentences around the page, the poems act as a frame to space, outrunning thought with quickness, openness, humor, and protest. They are simultaneously inviting and impermeable, making familiar language uncanny with every turn around the page. pre-labor stress with all-star fatigue as day glo habit turning exquisite grime into corners Anselm Berrigan is the current poetry editor for the Brooklyn Rail, and co-editor with Alice Notley and Edmund Berrigan of the Collected Poems of Ted Berrigan (U. California, 2005) and the Selected Poems of Ted Berrigan (U. California, 2011). From 2003 to 2007 he was Artistic Director of The Poetry Project at St. Mark's Church, where he also hosted the Wednesday Night Reading Series for four years. He is Co-Chair of Writing at the Milton Avery Graduate School of the Arts interdisciplinary MFA program, and also teaches part-time at Brooklyn College. He was awarded a 2015 Process Space Residency by the Lower Manhattan Cultural Council, and in 2014 he was awarded a Robert Rauschenberg Residency by the Robert Rauschenberg Foundation. He was a New York State Foundation for the Arts fellow in Poetry for 2007, and has received three grants from the Fund for Poetry. He lives in New York City, where he also grew up.

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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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“The political arrives in pieces, settling across his sprawling poems like dew or debris. Berrigan has always matched his experimental drive with a personable quality.” —Boston GlobeAnselm Berrigan’s eighth collection of poems, Something for Everybody, is exactly as its title describes. Wide-ranging in forms, densities, and aesthetics—and written from numerous collaborations, prompts, and influences—these poems express poetry’s astonishing possibilities. At the same time, they evince this sin- gular poet’s consciousness in the here and now, as a family and community member looking at the seams of public life.For consciousness the world is décor: sentences cast aboutFor bodies in the exuberant wobble factory Q-Bert believesIn me in the dark to pass out and check yourself out glidingBy storefront windows searching for a feeling no one’s feltIn the last twelve seconds lathered with coeval nightmareRhetoric of sociable extinction bashful as a wraith eking outA line of image extract to sprinkle on a plenty reeling mind. . .Anselm Berrigan is the editor of What is Poetry? (Just Kidding , I Know You Know): Interviews from the Poetry Project Newsletter (1983–2009), and is the author of many books of poetry, most recently Come In Alone and Primitive State. From 2003 to 2007 he was Artistic Director of The Poetry Project at St. Mark’s Church. He is Co-Chair, Writing at the Milton Avery Graduate School of the Arts interdisciplinary MFA program and also teaches part-time at Brooklyn College.

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"For Brooklyn poet Anselm Berrigan, the political arrives in pieces, settling across his sprawling poems like dew or debris. Berrigan has always matched his experimental drive with a personable quality."--Michael Brodeur, Boston Globe "Anselm Berrigan's voice continues be one of the most refreshing in contemporary American poetry." --Virginia Konchan, Galatea Resurrects In Come in Alone, Anselm Berrigan plays with space like a painter with the prosody of a poet. Written as infinitely looping sentences around the page, the poems act as a frame to space, outrunning thought with quickness, openness, humor, and protest. They are simultaneously inviting and impermeable, making familiar language uncanny with every turn around the page. pre-labor stress with all-star fatigue as day glo habit turning exquisite grime into corners Anselm Berrigan is the current poetry editor for the Brooklyn Rail, and co-editor with Alice Notley and Edmund Berrigan of the Collected Poems of Ted Berrigan (U. California, 2005) and the Selected Poems of Ted Berrigan (U. California, 2011). From 2003 to 2007 he was Artistic Director of The Poetry Project at St. Mark's Church, where he also hosted the Wednesday Night Reading Series for four years. He is Co-Chair of Writing at the Milton Avery Graduate School of the Arts interdisciplinary MFA program, and also teaches part-time at Brooklyn College. He was awarded a 2015 Process Space Residency by the Lower Manhattan Cultural Council, and in 2014 he was awarded a Robert Rauschenberg Residency by the Robert Rauschenberg Foundation. He was a New York State Foundation for the Arts fellow in Poetry for 2007, and has received three grants from the Fund for Poetry. He lives in New York City, where he also grew up.

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The second volume of our City Lights Spotlight Poetry series, Free Cell is the latest book of poems from New York-based poet Anselm Berrigan, one of the most influential American poets under the age of forty. In a departure from his previous work, Free Cell consists of two experimental suites, "Have a Good One" and "To Hell with Sleep," connected by a central poem. The former director of St. Mark's Poetry Project, Anselm Berrigan is the son of poets Ted Berrigan and Alice Notley. He is the poetry editor of The Brooklyn Rail and the co-editor of The Collected Poems of Ted Berrigan.

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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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"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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