Kenneth Rexroth: February 23, 1965
The Poetry Center presents Kenneth Rexroth, reading translations as well his own selected works.
- Originally Recorded By
- APA
- Location
- San Francisco Museum of Art, San Francisco
- Date
- 2/23/1965
- Total Run Time
- 01:06:52
- Rights
- ©© American Poetry Archives. This work is licensed under a Creative Commons Attribution-Non Commercial-ShareAlike 3.0 Unported License. For all other uses please email poetry@sfsu.edu
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- Kenneth Rexroth remarks on what he will read (00:03)
- Remarks on his translations of Pierre Reverdy's poems and gives a short background on Reverdy (01:36)
- Remarks on his interests in a creativity seen in the comparison of Reverdy's "radical dissociation and reconstruction" to Surrealism's "free association"; he also remarks on "visonary experience" and a sense of "transport" and "subliminal experience" he sees in Reverdy's poems and his own (03:16)
- Remarks on Stephane Mallarme's poetry, specifically "Un coup de des," as a source of this creativity and as an influence on his own poetry (10:05)
- Remarks on Walter Conrad Arensberg and Gertrude Stein as other contemporary followers of this sense of creativity (13:42)
- Introduces his long poem "A Prolegomenon to a Theodicy" (14:51)
- from "A Prolegomenon to a Theodicy" (15:06)
- Remarks on a section of the poem he will read, which Louis Zukofsky called a "nominative chant" (19:48)
- Continues from "A Prolegomenon to a Theodicy" (20:04)
- Remarks on repetition and recontextualization in his own poetry (21:34)
- Remarks on narrative examples of the "dissociation and recombination" strategy (22:05)
- Continues from "A Prolegomenon to a Theodicy" (23:17)
- Remarks on "Phronesis" (26:40)
- "Phronesis" (26:59)
- Sound cuts out (30:45)
- Continues "Phronesis" (30:51)
- Remarks on "Phronesis" (31:09)
- Continues "Phronesis" (31:27)
- Remarks that he will now read his translations of Reverdy (33:33)
- "Miracle" {Pierre Reverdy} (33:37)
- "A Ringing Bell" {Pierre Reverdy} (34:08)
- "I Keep Everything" {Pierre Reverdy} (34:38)
- "Rainbow" {Pierre Reverdy} (35:47)
- Remarks on the "idiom of a popular song" in Reverdy's "Perspective" (36:17)
- "Perspective" {Pierre Reverdy} (36:41)
- Remarks on work written to accompany Ornette Coleman's music, "Eight for Ornette's Music" (37:19)
- "Eight for Ornette's Music" (38:31)
- "Took" (42:13)
- Asks if there are any questions (43:40)
- Audience member asks if he has written or will read any new "American-type" poems (44:14)
- Audience member asks if Rexroth would explicate Analytical Cubism as seen in the poetry he has read; also asks if he will explicate such with a poem (44:40)
- Rexroth remarks that he will not explicate using a poem, as he feels to do so is to "destroy poetry" (45:07)
- Offers a history of Analytical Cubism as seen in paintings and defines it as the "analysis of reality of the picture subject into components of a kind of irreducible character" (45:26)
- Remarks on Cubist poetry and how his own translations of Reverdy are more "modernistical" than Reverdy's own poems (48:56)
- Audience member asks if Rexroth might talk more about Reverdy (51:05)
- Rexroth offers a short bio on Reverdy (51:10)
- Audience member discusses the structure and formal basis of Rexroth's poems and translations and asks Rexroth if he would ever write in stanzas (53:38)
- Rexroth comments on the non-issue of such a question (55:44)
- "Another Spring" (57:52)
- Remarks on Paestum in Italy (59:09)
- "Golden Section" (59:52)
- Audience member asks Rexroth if he has his book of Chinese translations with him (1:03:22)
- Rexroth responds that he does not but will read something more recent (1:03:33)
- Remarks on "This Night Only" (1:03:41)
- "This Night Only" (1:03:57)
- "An Easy Song" (1:05:03)
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