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My interview with Clayton Eshleman appears in the Winter 2015/2016 issue of Rain Taxi online.
As a poet, translator, and editor, Clayton Eshleman has been a singularly seminal and synergetic force in American poetry for fifty years. His magazines Caterpillar and Sulfur served as experimental open sites, soundboards and repositories for the poetry and arts from the 1960s to the turn of the millennium. His translations – of César Vallejo, Aimé Césaire, Antonin Artaud, and other poets of extreme consciousness – are celebrated as inspired and exacting models of the craft. The fifteen full-length volumes of his own poetry – by turns personal, political, and, at their furthest reach, primordial – reflect a life of vision, sensitivity, and, at times, wrath, lived in ceaseless exploration and commitment to the whole art.
This wide-ranging anthology includes new and classic essays on key aspects of Eshleman’s life as a poet, translator and editor by Rachel Blau DuPlessis, Pierre Joris, Andrew Joron, Robert Kelly, Herbert Lust, David MacLagan, Eric Mottram, John Olson, Jed Rasula, Jerome Rothenberg, Kenneth Warren, and Eliot Weinberger, among others. A detailed chronology of Eshleman’s life and a full bibliography accompany a comprehensive introduction by the editor.
Available here: Black Widow Press
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Available here: Equus
Louis XXX presents two little known hybrid texts by French novelist and philosopher Georges Bataille: The Little One and The Tomb of Louis XXX. Written alongside Bataille’s major work, Guilty, and only loosely narrative in any conventional sense, these audaciously experimental pieces of pornographic chamber music commingle prose and poetry, fiction and autobiography, philosophical and theological meditations, abstract artifice and intimate confession, bound together by the mysterious pseudonym at their center. Jean-Jacques Pauvert claimed that The Little One was the most “shattering” text that Bataille ever wrote and André Breton remarked that The Little One “offers the most hungering, most moving aspect of [Bataille’s] thought and attests to the importance that that thought will have in the near future.” The future is now as these texts appear in English for the first time. An extended postface by the translator places the works in biographical, historical, and critical perspective as assemblages constellated around the disappearance of the discursive real.
Distinguished American poet Robert Kelly has this to say about Gilgamesh. Courtesy of Pierre Joris’ blog Nomadics.
I co-edited the Spring 2012 issue of the new UC Press journal Boom: A Journal of California around topics in contemporary California design. Look here: Boom