My Way: Speeches and Poems

University of Chicago Press
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"Verse is born free but everywhere in chains. It has been my project to rattle the chains." (from "The Revenge of the Poet-Critic")

In My Way, (in)famous language poet and critic Charles Bernstein deploys a wide variety of interlinked forms—speeches and poems, interviews and essays—to explore the place of poetry in American culture and in the university. Sometimes comic, sometimes dark, Bernstein's writing is irreverent but always relevant, "not structurally challenged, but structurally challenging."

Addressing many interrelated issues, Bernstein moves from the role of the public intellectual to the poetics of scholarly prose, from vernacular modernism to idiosyncratic postmodernism, from identity politics to the resurgence of the aesthetic, from cultural studies to poetry as a performance art, from the small press movement to the Web. Along the way he provides "close listening" to such poets as Charles Reznikoff, Laura Riding, Susan Howe, Ezra Pound, Allen Ginsberg, and Gertrude Stein, as well as a fresh perspective on L=A=N=G=U=A=G=E, the magazine he coedited that became a fulcrum for a new wave of North American writing.

In his passionate defense of an activist, innovative poetry, Bernstein never departs from the culturally engaged, linguistically complex, yet often very funny writing that has characterized his unique approach to poetry for over twenty years. Offering some of his most daring work yet—essays in poetic lines, prose with poetic motifs, interviews miming speech, speeches veering into song—Charles Bernstein's My Way illuminates the newest developments in contemporary poetry with its own contributions to them.

"The result of [Bernstein's] provocative groping is more stimulating than many books of either poetry or criticism have been in recent years."—Molly McQuade, Washington Post Book World

"This book, for all of its centrifugal activity, is a singular yet globally relevant perspective on the literary arts and their institutions, offered in good faith, yet cranky and poignant enough to not be easily ignored."—Publishers Weekly

"Bernstein has emerged as postmodern poetry's sous-chef of insouciance. My Way is another of his rich concoctions, fortified with intellect and seasoned with laughter."—Timothy Gray, American Literature
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Publisher
University of Chicago Press
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Published on
Mas 15, 2010
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Pages
329
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ISBN
9780226044866
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Language
i-English
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Genres
Literary Criticism / American / General
Poetry / American / General
Poetry / General
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Content Protection
This content is DRM protected.
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Read Aloud
Available on Android devices
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Charles Bernstein
After 9/11, postmodernism and irony were declared dead. Charles Bernstein here proves them alive and well in poems elegiac, defiant, and resilient to the point of approaching song. Heir to the democratic and poetic sensibilities of Walt Whitman and Allen Ginsberg, Bernstein has always crafted verse that responds to its historical moment, but no previous collection of his poems so specifically addresses the events of its time as Girly Man, whichfeatures works written on the evening of September 11, 2001, and in response to the war in Iraq. Here, Bernstein speaks out, combining self-deprecating humor with incisive philosophical and political thinking.

Composed of works of very different forms and moods—etchings from moments of acute crisis, comic excursions, formal excavations, confrontations with the cultural illogics of contemporary political consciousness—the poems work as an ensemble, each part contributing something necessary to an unrealizable and unrepresentable whole. Indeed, representation—and related claims to truth and moral certainty—is an active concern throughout the book. The poems of Girly Man may be oblique, satiric, or elusive, but their sense is emphatic. Indeed, Bernstein’s poetry performsits ideas so that they can be experienced as well as understood. 

A passionate defense of contingency, resistance, and multiplicity, Girly Man is a provocative and aesthetically challenging collection of radical verse from one of America’s most controversial poets.

Charles Bernstein
Long anticipated, Recalculating is Charles Bernstein’s first full-length collection of new poems in seven years. As a result of this lengthy time under construction, the scope, scale, and stylistic variation of the poems far surpasses Bernstein’s previous work. Together, the poems of Recalculating take readers on a journey through the history and poetics of the decades since the end of the Cold War as seen through the lens of social and personal turbulence and tragedy.   The collection’s title, the now–familiar GPS expression, suggests a change in direction due to a mistaken or unexpected turn. For Bernstein, formal invention is a necessary swerve in the midst of difficulty. As in all his work since the 1970s, he makes palpable the idea that radically new structures, appropriated forms, an aversion to received ideas and conventions, political engagement, and syntactic novelty will open the doors of perception to exuberance and resonance, from giddiness to pleasure to grief. But at the same time he cautions, with typical deflationary ardor, “The pen is tinier than the sword.” In these poems, Bernstein makes good on his claim that “the poetry is not in speaking to the dead but listening to the dead.” In doing so, Recalculating incorporates translations and adaptations of Baudelaire, Cole Porter, Mandelstam, and Paul Celan, as well as several tributes to writers crucial to Bernstein’s work and a set of epigrammatic verse essays that combine poetics with wry observation, caustic satire, and aesthetic slapstick.   Formally stunning and emotionally charged, Recalculating makes the familiar strange—and in a startling way, makes the strange familiar. Into these poems, brimming with sonic and rhythmic intensity, philosophical wit, and multiple personae, life events intrude, breaking down any easy distinction between artifice and the real. With works that range from elegy to comedy, conceptual to metrical, expressionist to ambient, uproarious to procedural, aphoristic to lyric, Bernstein has created a journey through the dark striated by bolts of imaginative invention and pure delight. 
Charles Bernstein
After 9/11, postmodernism and irony were declared dead. Charles Bernstein here proves them alive and well in poems elegiac, defiant, and resilient to the point of approaching song. Heir to the democratic and poetic sensibilities of Walt Whitman and Allen Ginsberg, Bernstein has always crafted verse that responds to its historical moment, but no previous collection of his poems so specifically addresses the events of its time as Girly Man, whichfeatures works written on the evening of September 11, 2001, and in response to the war in Iraq. Here, Bernstein speaks out, combining self-deprecating humor with incisive philosophical and political thinking.

Composed of works of very different forms and moods—etchings from moments of acute crisis, comic excursions, formal excavations, confrontations with the cultural illogics of contemporary political consciousness—the poems work as an ensemble, each part contributing something necessary to an unrealizable and unrepresentable whole. Indeed, representation—and related claims to truth and moral certainty—is an active concern throughout the book. The poems of Girly Man may be oblique, satiric, or elusive, but their sense is emphatic. Indeed, Bernstein’s poetry performsits ideas so that they can be experienced as well as understood. 

A passionate defense of contingency, resistance, and multiplicity, Girly Man is a provocative and aesthetically challenging collection of radical verse from one of America’s most controversial poets.

Charles Bernstein
“Não é comum em poesia a publicação de livros que realmente interessam, como é o caso aqui. Mas só para os que estão preparados para pôr em questão suas grandes e pequenas certezas mais preservadas. O trabalho de Charles Bernstein é desses capazes de efetivamente desestabilizar variados campos de práticas e criações, formas arraigadas de pensamento, ideias comuns naturalizadas, imagens corriqueiras, sentidos admitidos, sintaxes previsíveis, aberturas e desfechos notórios.”

É assim que o também poeta Ronald Polito abre de forma contundente o prefácio inédito da seleção de poemas, ensaios e entrevistas de “Histórias da guerra”, do poeta norte-americano Charles Bernstein.

Bernstein é voz central na poesia mundial contemporânea. Seus poemas e ensaios foram traduzidos em mais de cem antologias e periódicos no México, Argentina, Cuba, Brasil, Noruega, Suécia, Finlândia, França, Alemanha, Áustria, Sérvia, Montenegro, Grécia, Espanha, Portugal, Rússia, China, Coréia e Japão. Nos últimos trinta anos, foram mais de duzentas as leituras e palestras, apresentadas no mundo todo, em países como França, Finlândia, Dinamarca, Itália, Portugal, República Tcheca, Alemanha, Áustria, Sérvia, Espanha, Canadá, Cuba, Brasil, Inglaterra, Nova Zelândia e Estados Unidos. Com Bruce Andrews, editou a já mítica revista L=A=N=G=U=A=G=E. Hoje, Bernstein detém a cadeira Regan de professor de inglês da University of Pennsylvania.

Esse livro incomum ainda traz a voz de outro importante poeta, Régis Bonvicino, organizador e tradutor do livro, e principal responsável pela divulgação da obra de Bernstein no Brasil.
Charles Bernstein
Long anticipated, Recalculating is Charles Bernstein’s first full-length collection of new poems in seven years. As a result of this lengthy time under construction, the scope, scale, and stylistic variation of the poems far surpasses Bernstein’s previous work. Together, the poems of Recalculating take readers on a journey through the history and poetics of the decades since the end of the Cold War as seen through the lens of social and personal turbulence and tragedy.   The collection’s title, the now–familiar GPS expression, suggests a change in direction due to a mistaken or unexpected turn. For Bernstein, formal invention is a necessary swerve in the midst of difficulty. As in all his work since the 1970s, he makes palpable the idea that radically new structures, appropriated forms, an aversion to received ideas and conventions, political engagement, and syntactic novelty will open the doors of perception to exuberance and resonance, from giddiness to pleasure to grief. But at the same time he cautions, with typical deflationary ardor, “The pen is tinier than the sword.” In these poems, Bernstein makes good on his claim that “the poetry is not in speaking to the dead but listening to the dead.” In doing so, Recalculating incorporates translations and adaptations of Baudelaire, Cole Porter, Mandelstam, and Paul Celan, as well as several tributes to writers crucial to Bernstein’s work and a set of epigrammatic verse essays that combine poetics with wry observation, caustic satire, and aesthetic slapstick.   Formally stunning and emotionally charged, Recalculating makes the familiar strange—and in a startling way, makes the strange familiar. Into these poems, brimming with sonic and rhythmic intensity, philosophical wit, and multiple personae, life events intrude, breaking down any easy distinction between artifice and the real. With works that range from elegy to comedy, conceptual to metrical, expressionist to ambient, uproarious to procedural, aphoristic to lyric, Bernstein has created a journey through the dark striated by bolts of imaginative invention and pure delight. 
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