Mallarme_Stephane_1897_2006_A_Dice_Thrown_at_Any_Time_Never_Will_Abolish_Chance.pdf
"It is simply a question of paying as much attention to the detail of how you write as you already do to the detail of what you read."
Sarah Corrigan, "It’s Not What You Said—It’s How You Said It…," Moore Institute https://mooreinstitute.ie/2021/08/25/its-not-what-you-said-its-how-you-said-it/)
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The Korean Literature Review Contest, which marks 17th edition this year, is a time-honored global literature contest hosted by the LTI Korea. It encourages overseas readers to share their reviews and thoughts on literary works by Korean authors in various ways such as text, video, audio, drawing, or art forms of any kind. This year, 12 countries are hosting the “2021 Korean literature review contest” including the US, the UK, France, Spain, China, Taiwan, Azerbaijan, Japan, Russia, Colombia, Brazil and Bangladesh.
The U.S. office of operations of Korean Literature Review Contest is looking for local participants to the Korean Literature Review Contest. Anyone currently living in the U.S. who is interested in Korean literature can participate in this contest and share their reviews by e-mail after reading Korean literary works selected by the LTI Korea. Participants are free to express their review in text, video and others. Winners will receive non-cash rewards or prize cash.
Let me get to the main issue. I am writing to you to ask for your assistance concerning the promotion of this contest to students of Brown University.
I wonder if you are able to post our promotional materials on the notice page of your website or on your social media account, etc so that this review contest can be exposed to as many students as possible.
For your information, I’ve attached the contest poster, application form, and list of selected literary works. You can find more details about the contest application guide in the followings;
Contest application guide in the U.S.:
Official Instagram of the Korean Literature Review Contest:
https://www.instagram.com/klrc_official/
We hope to develop a wider audience to Korean literature in the U.S. through this contest and also hope that this contest would establish itself as a new window to American reading audiences with interesting reviews. We would like to ask for your active participation and support so that many readers in the U.S. who are interested in literature can have opportunity to join a good contest. I look forward to receiving a positive response from you regarding the promotion for the review contest. I would appreciate a reply at your earliest convenience.
David Whyte addressing self-compassion through analyzing particular poems, particularly by Mary Oliver and also referencing William Blake's Songs of Innocence and Experience, and "Proverbs of Hell." Listening to it was uplifting and I highly recommend it," a student says:
Maybe this has to do in part with his way of repeating lines and letting their meaning really fill space, and with the familiarity of the voices he speaks to. I wonder why Mary Oliver‘s work became so influential the last few years before she passed.
https://soundcloud.com/pennydist/david-whyte-the-poetry-of-self
INTERVIEWER
My Private Property is only your second collection of prose. Do you find the writing process to be much different than writing poetry?
RUEFLE
Well, it’s always different. I don’t have any ideas when I write a poem, and the poems don’t really have an intent—should I say such a thing? It would take me sixty pages to explain what I mean … But for the prose pieces, I have folders with subjects, ideas, and experiences that I want to write about. I don’t know where the piece will go, but they can be based on things. The prose pieces all have a different rhythm, and I envision them with a right-flush margin. It’s different because prose is a public language and poetry is a private language, and every person on the planet who is fortunate enough to be able to speak, speaks in sentences—fragments, too, but often full sentences. The standards for public discourse are very different from poetry.
Poems are my inner life, take it or leave it. I don’t particularly care what the reader thinks because I’m just not invested in other people’s responses to my inner life. With discourse, with prose, it’s much scarier. There’s something built into its very nature—it’s more open and external, and it’s in exchange with another. I’m a nervous wreck when I write prose, and I’m not in the least when I write poems. If I’m writing a poem, it never occurs to me that somebody is going to read it. It’s taken me an entire lifetime to get over the fact that there are people out there who read my poems. In the beginning I was like, How did you see it? Where did you read it? I was forgetting that it was in a magazine somewhere. It’s like it doesn’t exist anymore, once I’ve written it. It always shocks me that people read poetry, even though I read it and love it and it’s my life. But it doesn’t shock me that people read prose. So I have the expectation of a reader, of a listener, when writing prose that I simply don’t have when I write a poem. When I write a poem, I’m writing for myself, the dead, and God—none of whom exist!
https://www.theparisreview.org/blog/2016/12/12/becoming-invisible-an-interview-with-mary-ruefle/
The Poet’s Voice: Bhanu Kapil & Fred Moten | Woodberry Poetry Room | 2015
Wallace Stevens, "Thirteen Ways of Looking at a Blackbird"
https://www.poetryfoundation.org/poems/45236/thirteen-ways-of-looking-at-a-blackbird
what poets are up to now
#3 The Black Death inadvertently set the stage for one of Newton's most famous insights.
In 1665, following an outbreak of the bubonic plague in England, Cambridge University closed its doors, forcing him to return home to Woolsthorpe Manor. While sitting in the garden there one day, he saw an apple fall from a tree, providing him with the inspiration to eventually formulate his law of universal gravitation. Newton later relayed the apple story to William Stukeley, who included it in a book, “Memoir of Sir Isaac Newton’s Life,” published in 1752.
In 2010, a NASA astronaut carried a piece of the ancient apple tree aboard the space shuttle Atlantis for a mission to the International Space Station. The Royal Society, a scientific organization once headed by Newton, loaned the piece of the tree for the voyage, as part of a celebration of the 350th anniversary of the group’s founding. Today, the original apple tree continues to grow at Woolsthorpe Manor.
Tanella Boni, The Future Has An Appointment with the Dawn (2018)
Translator/'s Note, Todd Fredson
Tanella Boni:
1. Labyrinthe (1984)
2. Grains de sable (1993)
7 April-15 July 1994
Tanella Boni:
3. Il n'y a pas de parole heureuse [There are no happy words] (1997)
"The 1994 genocide is a point of reflection in There are no happy words. In it, Boni struggles to trust language. What language, after all, could adequately register such atrocity? The words themselves become 'pools of forgetting.'" (xiii)
How do we hold this, how do we talk about it now—as a world, as nations and people who sat by or stood by and let this happen?
I don’t know about talking. I should probably say in this interview that I’m not from Rwanda, I’m not Rwandan and I wasn’t writing about the Rwandan experience. I was writing about what it means to think about 20 years after the Rwandan genocide. But when I say I’m not sure it’s about talking, I’m really wanting to think about listening because so often there’s this whole business of speaking for those who cannot speak for themselves, or saving people from distress, or doing stuff so that we can feel better about what we are doing. This leaves less time for listening, or as they say, offering space so that those who have something to say, or even nothing to say, can be there. So how do we talk about it? I would say we don’t talk about it. We wait to listen, or we wait for guidance from those who will teach us something, or tell us something, or have something to offer.
Juliane Okot Bitek https://www.mtpr.org/post/100-days-rwandan-genocide-juliane-okot-bitek
The 90s in sub-Saharan Africa also saw civil wars in Burundi, Sierra Leone, Liberia, and Guinea-Bissau and the Tuareg rebellion in Mali and Niger. The wave of democracy was also the wave of civil wars ... for the country nicknamed Miracle [the Ivory Coast], the millennium concluded with a military coup on Christmas Eve."
(Todd Fredson xiv)
Laurent Gbagbo, President of Côte d'Ivoire (2000-2011)
"Boni was a colleague of Gbagbo's at the university and has known his wife, Simone, since they attended lycée together in their teens. Boni reflected in one of our conversations: "After he got to power--you just don't know what a person is thinking." Ethnic violence erupted around the presidential election, and then the country fell into a north-south civil war that lasted from 2002-2007." (Fredson xv)
Boni removed herself to the Île de Gorée just off the coast of Dakar, Senegal, in the immediate aftermath of the election. On the Île de Gorée, Boni wrote within view of the House of Slaves, a memorial to the Africans shipped as slaves to the Americas. Meditating on its Door of No-return, Boni wrote a collection titled Gorée île baobab (Gorée island baobab); the baobab is the African tree often used as an image to symbolically (romantically, reductively) portray sub-Saharan Africa. Reflecting on the significance of the memorial, the coming and going of tourists, children playing on the island, and the events in her life, she looks across the water to America, as it sends its military to Iraq. "Baghdad the beautiful murdered," she writes, "The cliffs of reason collapse / There is no more tended hedge to stifle / The madness that fans the world."
(Fredson xvi)
Chaque jour l'espérance [Each day, hope] (2002)
Ma peau est fenêtre d'avenir [My skin is a window looking into the future] (2004)
Gorée île baobab (2004)
Matins de couvre-feu [Mornings after curfew] (2004)
Boni's novel gained attention, making her a target of police surveillance and of hostility from increasingly violent student groups. Boni self-exiled to France, which was the only border that remained open to her, she explains--her husband, an economist, had departed earlier for a post in Burkina Faso. "I left," she told me, "like a refugee, holding one valise.
(Fredson xvi)
She worked on The future has an appointment with the dawn for ten years. It was published in 2011, as the French and UN intervened to forcibly end the second Ivorian civil war, which was sparked by the 2010 presidential election, the first since Gbagbo's controversial win in 2000. French and UN military forces bombed the presidential palace to remove Gbagbo, who refused to concede in what appeared to be a narrow loss.The international community recognized Alassane Ouattara as the new president. Outtara is considered the northern candidate--the one for whom the constitutional revisions in 2000 were most intended to prohibit from running. A U.S.-educated economist, Ouattara is a former deputy managing directory at the IMF. Boni tentatively returned to the Ivory Coast in 2013.
(Fredson xvi)
"Desiring to hope" and "hoping" are not the same thing (xvii).
1 "Land of Hope"
"cohabitation of inhabitants marked by difference," also those "adrift and without origina" (Fredson xvii)
"As the peace in that edenic space ruptures, politicians, who increasingly deplete the meaning of language ... make assurances ... as if they could control the wind" (Fredson xviii)
2 "A murdered life"
"recounts the killing of a young man during ethnic and political violence in the Ivory Coast in 2000" (xvii)
"As Boni concludes. she ties her consideration to paintings by Eugène Delacroix, "Liberty Leading the People" and "The Massacre at Chios," as well as "Guernica" by Pablo Picasso, in order to include Ivorian violence in a lineage of ethno-cultural irruptions that extend beyond the African continent." (xviii)
Read and pay special attention to Fredson's concluding paragraphs (xvii-xix)
POETICS
You know, more or less, what poetry is. But what is poetics? And is it singular or plural or both? To me it’s a bundle of the principal commitments and priorities of the poetry, in general or particular, as identified and articulated by the poet or the reader. I will try to improve on that definition in a short lecture (week two), with the aim of increasing everyone’s confidence in using the term.
RISD Contemporary Poetry Syllabus Spring 2020
"Poetics is the theory of literary forms and literary discourse."
Aristotle
Aristotle's Poetics (Greek: Περὶ ποιητικῆς; Latin: De Poetica;[1] c. 335 BC[2]) is the earliest surviving work of dramatic theory and first extant philosophical treatise to focus on literary theory.[3]
Traditionally, the term poetics has been interpreted as an inquiry into the laws and principles that underlie a verbal work of art and has often carried normative and prescriptive connotations. It first appears in the form of systematic inquiry around 350 BC in Aristotle’s work Poetics and has since exercised enormous influence on attempts to define the structural and functional principles of works of art predominantly, but not exclusively, in the verbal medium.
https://lucian.uchicago.edu/blogs/mediatheory/keywords/poetics/
"Poetics"
When I use the term "poetics," I don't so much refer to the "structural and functional principles," the mechanics of poetry, or how it achieves its effects. I think that might be called "craft" today.
I use the term to refer to the project of the poetry: its principal concerns, where it puts its attention, and how.
In a way, its politics and ethics, whether or not these are pronounced.
Franny Choi, Soft Science (2019)
Part 2 "Chi," pp39-44 2:28- 5:45Soft Science 8:23-10:19[if you have any difficulty finding Part 2, you can access the entire interview herehttps://www.spreaker.com/user/society_bytes_radio/111019-soft-science-franny-choiThe Part 2 clips will then be:"Chi" (pp39-44),18:08- 20:45Soft Science 23:22-25:20
Donna Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century," in Simians, Cyborgs and Women: The Reinvention of Nature (New York; Routledge, 1991), pp.149-181.