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At 85, New Directions Celebrates with City Lights

At 85, New Directions Celebrates with City Lights
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New York , United States , San Francisco , Coney Island , Lawrence Ferlinghetti , Peter Maravelis , Nathaniel Mackey , Susan Howe , James Laughlin , Will Alexander , Barney Rosset , Sylvia Legris , Michael Palmer , Nathaniel Tarn , Eliot Weinberger , Forrest Gander , Ezra Pound , Paul Yamazaki , Rosmarie Waldrop , City Lights Bookstore , New Directions , New York City , City Lights Booksellers , Mei Berssenbrugge , Pulitzer Prize , City Lights ,

Nathaniel Mackey's Long Song | The New Yorker


Cartoon by Kim Warp
Yet poetry seemed capacious enough for both approaches to history: making it up and plumbing its depths. Returning to “Chant des Andoumboulou” gave Mackey “a sense of society as a kind of poem, social ritual as a kind of poem. So, therefore, the poem as a kind of society, made up of elements like sound, and sense, and the look words have on a page, the look line breaks give to a poem.” He began moving away from poems as discrete pieces of writing—the sealed-off odes that we are taught in school. He thought of how the musicians he loved, like Coltrane or Cecil Taylor, the avant-garde pianist, were always “pulling more and more song” out of an old piece of music. His poetry began scouring histories—the ill-fated Andoumboulou, Sufi mysticism, Gnosticism. In the early seventies, he found a copy of “Mu,” an album by the trumpeter Don Cherry. In Mackey’s mind, the title, and Cherry’s primal, ecstatic mus ....

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Bird and Shaman by Johannes Göransson | Poetry Foundation


Untitled, 1959. Art by Eugene Von Bruenchenhein. Used by permission of Rich Shapero. © Rich Shapero.
The Combustion Cycle (Roof Books, 2021), by Will Alexander, gathers three long poems written over two decades: “Concerning the Henbane Bird,” “On Solar Physiology,” and “The Ganges.” At more than 600 pages, the book calls attention to one of the great originals of contemporary US poetry, and at the same time it’s a record of something else something that has less to do with contemporary US poetry and more to do with another model of time and tradition. It feels like a record of a shamanic engagement with nature, with geological time, and, perhaps most radically, with what the political theorist Jane Bennett has called “vibrant matter,” the movement of supposedly “non-living” materials, such as metals and rocks. Alexander seems to be both the most American of poets part of several US traditions and almost not even writing in ....

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