Charles Bernstein Web Log

Peter Gizzi on Close Listening

Sun, 11 May 2008 13:34:10 -0700

Peter Gizzi

Photo: Robert Seydel

Close Listening
Readings and Conversations at Art Radio WPS1
with Charles Bernstein
recorded March 17, 2008

Conversation (23:23): MP3

Reading (26:30): MP3
from Periplum and other poems (1987-1992)
Thirty Sentences for No One
Periplum
from Artificial Heart (1998)
Another day on the Pilgrimage
Tous les Matins du Monde
from Some Values of Landscape and Weather (2003)
Plain Song
Beginning With a Phrase from Simone Weil
from The Outernationale (2007)
The Quest
The Outernationale
Untitled Amherst Specter
Protest Song
A Panic That Can Still Come Upon Me

Close Listening Engineer: Jeannie Hooper
Additional technical support: Michael Hennessy.
————————————————————————

link | 05-11-08

Web Log -- Charles Bernstein

Sat, 10 May 2008 23:19:57 -0700

provisional programme
for Sussex conference on Long Poems / Major Forms

-----

Writing the New at New College: A Celebration of Innovative Writing
Sarasota, Florida
May 1-3, 2008
Hamilton Classroom Teaching Auditorium (HCL 8) and Cook Hall
FREE
Thursday, May 1 @ 7pm HCL 8: Charles Bernstein, Talking Poetics, With reception to follow in Cook Hall
Friday, May 2 @ 7pm HCL 8: Reading by Catherine Daly Friday
Saturday, May 3 @ 3:30 in Cook Hall: Student Poetry Reading
Saturday, May 3 @ 7pm HCL 8: Charles Bernstein: "The Attack of the Difficult Poems: Poetry Reading and Performance"

link | 4-15-08

Peter Middleton: Video Portrait

Fri, 09 May 2008 07:04:23 -0700

Peter Middleton

Download MP4 to see see video.

Peter Middleton
Peter was on his way back from Creeley Buffalo conference, which I had missed because of the devastating snow storm in Buffalo that weekend. The first time I met with Peter in New York was in the early 1990s. I remember going to the Riverside Park playground and while Emma played in the sandbox we chatted on about his entirely informative book The Inward Gaze: Masculinity & Subjectivity in Modern Culture.
October 16, 2006
(mp4, 38 seconds, 7.5 mb)

link | 05-09-08

Nerys Williams, Reading Error: The Lyric and Contemporary Poetry

Thu, 08 May 2008 19:07:17 -0700

Nerys Williams
Reading Error: The Lyric and Contemporary Poetry
Poetry Series: Modern Poetry Vol. 1
Oxford: Peter Lang, 2007
265 pp. ISBN 978-3-03911-025-4 pb.

from the publisher’s information:
This book considers the development of the lyric form in recent American poetry of the past three decades. By concentrating on the writing of three poets associated with language writing, Charles Bernstein, Michael Palmer and Lyn Hejinian, the discussion considers the attempts of contemporary poetry to problematise the identification of the lyric as a static model of subjectivity. Central considerations motivating the discussion are: How do contemporary lyric poets negotiate the propositions posed by postmodern thought? What reading of lyricism can one formulate once the self is displaced from centre stage and an 'experience' of language takes its place? The book proposes that an aesthetic of error enables us to approach the reconfiguration of the lyric in recent innovative poetry. Drawing from elements of modernist poetic practice, psychoanalytic theory, language philosophy and critical theory this book pursues methods for understanding the demands placed upon the reader of contemporary poetry.

Contents:

Language Writing and the Lyric
Error, Malapropisms, 'Ideolects' and 'Knowing' a Language in Charles Bernstein's Dark City and Rough Trades
Whose Language: Charles Bernstein Reading Cavell, Reading Wittgenstein
Michael Palmer's Lyric and 'Nobody's Voice'
Ungrammaticalities and Intertextuality in Michael Palmer's Sun and Letters to Zanzotto
Erring in Lyn Hejinian's Poetry of the 1980s - 'There is no one correct path': Lyn Hejinian's Prepoetics
Lyric from L=A=N=G=U=A=G=E into the 21st Century.

link | 05-08-08

KSW Vancouver Positions Symposium

Mon, 05 May 2008 07:13:24 -0700

N 49 15.832 - W 123 05.921
:::::: POSITIONS COLLOQUIUM ::::::

AUGUST 19 - 24, 2008
VIVO Media Arts Centre
1965 Main Street
Vancouver, BC (Coast Salish Territory)
CANADA

invited participants include

for details
thematics statements
and registration information
please visit
http://www.kswnet.org/

to learn more about VIVO, visit
http://www.videoinstudios.com/

link | 5-03-07

Web Log -- Charles Bernstein

Sat, 03 May 2008 12:16:41 -0700

Elizabeth Willis on Close Listening
from Art Radio WPS1
recorded March 17, 2008

Reading: MP3
Willis reads a retrospective selection of her poetry..

In conversation with Charles Bernstein: MP3
Willis talks about the influence of Blake and the Pre-Raphaelites and J.M.W. Turner, as well as discussing the relation of artifice and sincerity.

Elizabeth Willis's most recent collection of poems, Meteoric Flowers, was published by Wesleyan in 2006. Her other books include Turneresque (Burning Deck, 2003) and The Human Abstract (Penguin,1995). An edited volume on Lorine Niedecker is presently in production. Willis teaches literature and creative writing at Wesleyan.

photo: ©2007 Bernstein/PennSound
link | 04-19-08

"In Particular" in Brazil

Sat, 03 May 2008 12:16:40 -0700

new at Sibila
EM PARTICULAR
(In Particular, from Girly Man)
Charles Bernstein
Tradução: Régis Bonvicino e Maria do Carmo Zanini
(Brazil)

Audio in English from Mills College 2005 (MP3)

“Admito que a beleza me inala, mas não que eu inale a beleza.” – Felix Bernstein
“Minha falta de nada.” – o gênio na confeitaria

Um homem negro esperando num ponto de ônibus
A mulher branca sentada num banco
Um filipino comendo batata
Um garoto mexicano colocando sapatos
Um hindu ocultando-se num iglu
Uma garota gorda de bata azul
Uma senhora católica de chinó
A mãe chinesa cruzando a ponte
Um afegão pastando pastrami
Um provinciano passeando na península
Um garoto eurasiano ao celular
Um árabe de sombrinha
Um sulista decolando a mochila
Um milanês detonando um gse
Um bárbaro de boina
Um libanês numa limusine
Um judeu regando petúnias
Um iugoslavo num enforcamento
Um menino sunita num patinete
Um nativo da Flórida subindo uma fonte
Um beatnik escrevendo um limerick
Uma caucasiana sonhando ao acaso
Uma criança porriquenha flutuando num balão
Um tipo indígena no topo de um triciclo
Um armênio remando até a América
Um irlandês com uma foice
Um bangladeshiano balbuciando perguntas
Um trabalhador amassando barro
Um esqueitista japonês consertando um ciborgue
O marinheiro de Myanmar mirando seu reboque
Um cara de Idaho pegando sol
A garota de Quinnipiac com fala triste e lenta
Um baleeiro arapaho acertando por um triz
Um anoréxico com uma cor inesquecível
Um adolescente muçulmano escrevendo em terza rima
Um encanador escocês comendo por quilo
Um garoto gay num barco xadrez
Um homem vermelho com uma bola verde
Um marinheiro disléxico com uma dor de verdade
Um avião inglês com destino à Irlanda
Um banqueiro budista caindo ao chão
Um ex-interno curioso na debulhadora
Um sargento hispânico de olho num casaco creme
Um alfaite drogado dragando a sopa
Um pivete massai mascando goma
Um infante sefardita no convés de shuffleboard
Um mongol imitando Napoleão
Um rapaz anarquista de olhar enviesado
Um mineiro de Riga dançando break com a polícia
A menina pobre comendo torta de maçã com tubaína
Um camarada sudanês com um carrinho amarelo
Um ateu com uma paixão por broches
Um nativo das Bahamas em marcha para uma trama
Um iraniano gago no fog azul e dourado
Um sonâmbulo falante ensaiando Gipsy
Uma criança homossexual num táxi
A matrona Wicca nadando em Pritt
Um procrastinador moraviano praticando jiu-jítsu
Um sírio swami no Lago Oragami
Um cavalheiro galante num volteio sincero
Um jovem de cor admirando um tostador
Um designer dinamarquês num banquete
Um montenegrino tomando excedrin
Um dervixe de Washington pingando dodecaedros
Um decano de Denver rezando rebelde
Um garçom balinense queimando fumo
Um iraquiano contemplando um haraquiri
Um ojibwa apertando um botão na Transiberiana
Um soldado devastado saltando da balaustrada
Um patriota decadente apanhando um bagre
Um professor agoráfobo monitorado por tacógrafo
Uma feminista numa cadeira de balanço
Um cozinheiro birmanês de meias soquetes
Um adolescente se metendo num colchão de ar
Um defensor do aborto recitando rimas
Um finlandês com cara de cachorro polindo um Volvo
Um malinense com malas revistadas
Um advogado pentecostal correndo em seu foyer
Um comunista vestindo um avental cinza
Uma canadense com um anel no nariz
A moça medúsea namorando um namarino
Um idiota num closet
A mágica moura em sua cozinha
Um soldado acabado com um vendedor antipático
Um veterano diletante implantando estantes
Uma socialite num imbroglio de rotina
Um ciclista vendendo vespas
Um bebê de um ano embolsando a grana
Um garoto encapuzado comendo queijo cheddar
Um tiozão lambe-botas usando tutu
A morena perseguindo uú trem
Um argentino dançando na cabeça de um alfinete
Uma pensionista sardenta instalando um Laplink
Um australopitequinho careteando no porão
Um piá nicaraguense com um pito picaresco
Um marrano nocauteado na lona
Um abissínio abstêmio
Um balofo de sorriso despecuniado
Um amigo texano com a face hirta de terror
Uma votação perdida na floresta
Uma alma dilapidada bebendo rum
Um pistoleiro com coração de papel
Uma dona em Shockwave sacando uma bola de hóquei
Um bebê em Percalux enrolando o chachachá
Um banqueiro pós-colonial comendo ameixas
Um sueco desastrado cuspindo balas
Uma haitiana embruxuleada em férias involuntárias
Um oncologista persa parado em zona azul
Um flautista franco-peruano tomando Pernod
Um conquistador do Idaho com a infinita capacidade de causar dor
Um pedicuro mongol num jantar americano
Um paulistano traindo um nova-iorquino
Um homem branco sentado num banco
A mulher negra esperando o ônibus

link | 04-29-08

Web Log -- Charles Bernstein

Sat, 03 May 2008 12:16:40 -0700

reminder
Blind Witness
Three American Operas
prepublication launch & performance

Monday, May 5, 8pm

Forthcoming from Factory School

Blind Witness

brings together in one book Charles Bernstein's libretti for
Blind Witness News, The Subject, and The Lenny Paschen Show
written for composer Ben Yarmolinsky in the early 1990s.
Bernstein & Yarmolinsky
will perform sections of the operas along with
Deborah Karpel, soprano | Nathan Resika, bass | Silvie Jensen, mezzo-soprano
discounted advance copies of the books will be on sale
Medicine Show
549 West 52nd St. (between 10th and 11th Ave.), New York
$5 admission
Reservations requested to ensure seating: 212-262-4216
This program is funded by the New York State Council on the Arts, a state agency.
*
Blind Witness
can be ordered now
prepublication
direct from Factory School

cover image: Susan Bee
link | 04-23-08

Robert Cignoni video

Sun, 27 Apr 2008 21:03:02 -0700

Robert Cignoni
16 August 2007
Xul/Argentina
video by Eresto Livon-Grosman

link | 04-27-08

Miki conference, Eyewear, Vicuna

Sat, 26 Apr 2008 07:12:43 -0700

Tracing the Lines
A Symposium on contemporary poetics and cultural politics
in honour of Roy Miki
May 28 to 31, 2008
Vancouver, BC

------

EYEWEAR
Todd Swift has posted and introduced
"One More for the Road"
one of the poesm of "World on Fire"
in Girly Man
on the occasion of the paperback edition

_____

photo © 2008 Charles Bernstein/PennSound

Cecilia Vicuña

Writers Without Borders Reading
Kelly Writers House, UPenn
April 15, 2008

Complete Reading (50:23): MP3

Introduction by Al Filreis (2:54): MP3
Introduction by Charles Bernstein (6:58): MP3
Poems and songs by Cecilia Vicuña (40:08): M

Vicuña on PennSound
PennSound Daily

link | 4-26-08

Line Reading from With Strings 2002

Sat, 26 Apr 2008 07:12:43 -0700

My reading inThe Line Reading Series, January 15, 2002

1. Lytle Shaw's Introduction (2:27): MP3

from With Strings, (University of Chicago, 2001):
2. Thinking I Think I Think (7:38): MP3 | text
3. Total Valor (1:01 -- Tape break at 0:49): MP3
4. In Between (1:58): MP3
5. An Affirmation (0:46): MP3
6. Little Orphan Anagram (0:19): MP3
7. Echo Off (Use Other Entrance) (9:48): MP3
8. Why We Ask You Not to Touch (0:50): MP3
9. The Inevitable Flow of Material Things Through the Pores of the Years (8:54): MP3
Complete Reading (33:14): MP3

link | 04-25-08

Creeley on Oppen, Oppen at Buffalo

Sat, 19 Apr 2008 07:26:16 -0700

George Oppen: A Centenary Conversation
SUNY Buffalo: Wednesday April 23 – Friday April 25, 2008

---

New at the PEPC Library
Roberr Creeley
Introduction to the Selected Poems of George Oppen

ne finds so many insistences upon the presumption that, as Auden said, "Poetry makes nothing happen." Somehow poems therefore are supposed to be without value, just an indulgent pastime, an avoidance of the workaday world in which we otherwise have to live. Yet, on the other hand, one knows that poetry has often been felt to be tacitly subversive—an arousal of feelings contrary to the status quo, a calling together of mutual sympathies and recognitions altogether against the grain. It's no surprise that Federico Garcia Lorca's poems, for example, were crucial to Spain's Republican soldiers in that country's Civil War (1936–39), or that Plato, centuries earlier, hoping to secure an inclusive if dogmatic system of government, wanted all poets removed from the body politic at the outset. Then their curious ability to stir things up could be comfortably avoided.

Still, no one finally knows what a poet is supposed either to be or to do. Especially in this country, one takes on the job—because all that one does in America is considered a "job"—with no clear sense as to what is required or where one will ultimately be led. In that respect, it is as particular an instance of a "calling" as one might point to. For years I've kept in mind, "Many are called but few are chosen." Even so "called," there were no assurances that one would be answered.

Most intriguing to me is that George Oppen became the primary poet he turns out to be truly against the odds. There are no signs or facts of circumstance arguing his possible transformation from the securely provided child of a well-to-do family into the spare, self-determined, isolate and unremitting person he turns into. No doubt his seemingly never-ending travels argue his ability to move as feelings and need proposed, but always he managed to find commonplace means wherewith to support himself and his wife, Mary. It is Mary who best makes clear the motive, which prompts them:

We were constantly searching—searching in our travels, in our pursuit of friends and in our conversation concerning all that we saw and felt about the world. We were searching for a way to avoid the trap that our class backgrounds held for us if we relented in our escape from them ... We wanted to see a great deal of the world, and the education of which we talked for ourselves was to leave our class and learn our life by throwing ourselves into it.

(Mary Oppen, Meaning a Life: an Autobiography)

Much of Oppen's own life did not fit a simple pattern and this was not at all a fact of his own choosing. The early loss of his mother by suicide, the step-mother with whom he finds little rapport or sympathy, his teenage accident while still in military academy, involving the death of a passenger and his own expulsion for drinking, the earlier shift of the family from New Rochelle, New York (where he was born in 1908) to the other end of the country, San Francisco, even the probably therapeutic trip with his father to Europe in the year he is forced to leave school (1925) must be signs or markers for a childhood and adolescence scarred by tragedy and familial displacement. The travels, then, that he and Mary undertake are like those of the fairy-tale, wherein the two children, holding hands tightly, set off through the woods to discover the bluebird of happiness and the home they know themselves to have been driven from and to which they must at last return. So it is, as Mary writes, "the people we met, as various and as accidentally met as thumbing a ride could make them, became the clue to our finding roots; we gained confidence that this country was ours in a sense which we hadn't known under our parents' roofs. The sense was not only patriotic but a personal one, for as people generally accepted us, we felt as comfortable and at home in our country. I have never felt so at home in any other land."

William Carlos Williams, a poet whom George Oppen much respected, makes the point that "the poet thinks with his poem, in that lies his thought, and that in itself is the profundity." It was the Oppen's Objectivist Press, which published Williams' Collected Poems, 1921-1931 in 1934. The name of the press is also significant in that the Objectivists, consisting of the poets George Oppen, Charles Reznikoff, Carl Rakosi, Louis Zukofsky and Williams himself, were the decisive conjunction, which gave Oppen his company and ground. However different they were later to find their lives—particularly so in the instance of Oppen and Zukofsky—all worked from the premise that poetry is a function of perception, "of the act of perception," as Oppen emphasizes in his one defining essay, "The Mind's Own Place." Oppen's complex 'thinking with his poems' is a consistent and major factor in all his surviving work. I think much becomes clear, in fact, if one recognizes that George Oppen is trying all his life to think the worId, not only to find or to enter it, or to gain a place in it—but to realize it, to figure it, to have it literally in mind. Poetics itself is the art of figuration, of configuring, so to speak, of making a picture, an imago mundi, which can serve as the (or a) whole world. Just so, Zukofsky said one might spend a lifetime considering the difference between "the" and "a," the particular and the general.

In hindsight it may seem odd that such a brilliant and also privileged person as Oppen should have given his political commitment to the Communism of that period. But one forgets how preoccupied with viable political systems the whole time was—and necessarily so. The Depression, as well as the incessant wars of the 20th century, both civil and international, increased dramatically the implacable distance between the haves and the have-nots. The grinding and heartbreaking poverty of a great number of the world's people made an insistent impression upon those given the chance—really, the leisure—to think of it at all. Of course, all yearned for "one's place in the sun" but very few indeed were ever permitted to secure it. So, given their own provision, those as Oppen were particularly aware of their privilege, if they had not simply accepted the fact of their good fortune and taken their lives as thus granted.

In other words, one begins to recognize this active, restless intelligence, often brooding in its preoccupation, endlessly returning to its determined premises, tracking and retracking an implacable ground of apparent consequences. Why is this so? What so defines it? Is it the case in all instances? What are the givens? What inheres in the fact "of being numerous"? What is the "this" "in which" what is? If I tease these terms here, my wish is to make clear that we are reading not only a unique collection of poems—and what are poems?—but also a rhetoric of thinking, a "grammar [in Kenneth Burke's phrase] of motives," an immensely human attempt to have the world in mind and, in that heroic act, to insure that all is included, all provided and thought of—not at all as details, a kind of Noah's Ark of particulars, but rather as the imagination of a total "place," which provides for all that can be put there, each particular and local 'thing.’

Small wonder that George Oppen was not engaged with the usual poetry of his time. We too have forgotten how many of the writers of the nineteen thirties and forties shared his political thinking. Who now remembers the poems of Norman Macleod, for example, who was in 1930 the most published poet in America, invited to Moscow by the Russian government in respect of his accomplishments and convictions? In 1935, coincident with joining the Communist Party, Oppen stopped writing, noting later in a daybook, "Surely there are situations in which it's absurd to write poetry! One could approach his own death with poetry—I should think one would. But a slaughter, a slaughter for which he bears perhaps some responsibility? Or, he does what he does. I don't know what one "should" do . . . " So he as well was to find himself in Mexico some twenty years later with the Hollywood Ten script writers, whose "leftist" commitment had forced them to seek political asylum in order to escape Senator Joseph McCarthy and the House Committee on Un-American Activities' attacks and accusations.

Certainly poets before Oppen have given up writing for such a length of time. There was Paul Valéry who stopped writing poetry for a like twenty years and then picked up again with his masterpiece, "Le Cimetière Marin." Many speak of writer's block, of finding themselves with nothing to say and no means to say it. Or others, as Oppen, feel that writing itself is impossible in a world so committed to selfdestruction and despair. Yet poetry would seem to be an art like swimming or riding a bicycle. Once learned, one does not forget even if one wants to.

Still the confounding ethical question of how one can speak as one in a time when all are so threatened hardly disappears because one is a poet. For Oppen the singular act of poetry could not outweigh the need to work in concert with those he felt oppressed—in a common employment, in a clearly committed political determination. His being wounded in the Second World War, serving as a common soldier, is a unique validation for him and one he much values thereafter. It was not until 1958 that Oppen began to write again and to undertake the work of finding publication.

If I think now of Oppen's incessantly restless travels, his shifting sense of company, I must realize I finally know him only in his poems despite he left both journals and letters, which are a very useful information in themselves of both the time and the person. But in the end the poems are the significant record, even when unwritten, thinking now of the more than twenty years of their hiatus. They say what he felt could be said, which, for him then, was a necessary and painful silence.

Perhaps this is what poetry can "make happen," an inscription of the apparent world which registers its relation to our transient human lives—something that will matter, something that can count. One reads in Oppen's poems a record of thought compacted with feeling, a register of what might be finally that "this in which" our lives might have their determining value. He recognizes and insists that we are "numerous," a complex "many"—yet, as Robinson Crusoe's presence would emphasize, he knows himself finally as one:

               'Whether, as the intensity of seeing increases, one's distance
                             from Them, the people, does not also increase'
               I know, of course I know, I can enter no other place

               Yet I am one of those who from nothing but man's way of
                            thought and one of his dialects and what has happened
                            to me
               Have made poetry

To dream of that beach
For the sake of an instant in the eyes,

The absolute singular

The unearthly bonds
Of the singular

Which is the bright light of shipwreck

***

No selection as this can be managed simply as one person's decision, however much I stand responsible for the poems here included. When I read them now, I hear George Oppen's voice underlying—quite deep, poised, reflective in its movement, without aggressive emphasis. It is as if one listens to his thinking, the slowly secured phrases, the syntax taking each step.

Then my fellow poet Robert Duncan's love for him and his work persuades me—as George Oppen would make his own love for Duncan clear in his letters. The one poet complemented the other—the unembarrassed fullness of Duncan's rhetoric fits unexpectedly the modes of Oppen's spare thought. Both wanted the whole world as their ground and each worked always to enter it. I learned from them a measure for "democracy" in all its many, shifting guises.

Most particularly here my resource has been the defining editor of George Oppen's poetry, Michael Davidson, whose crucial New Collected Poems (2002) gave me the text from which I made my selections. I also felt that a brief, compacted, chronology for Oppen's life would serve a real purpose and asked another old friend and fellow poet's help with providing it. Thanks to Rachel Blau DuPlessis, the reader can review for him or herself the "incessantly restless travels [and] shifting sense of company" I refer to. She has also given us an exceptionally useful edition of Oppen's correspondence, The Selected Letters of George Oppen (1990), which, together with Mary Oppen's Meaning a Life (1978), makes an active context for the poems and the world in which they were written. Stephen Cope (University of California, San Diego) has kindly provided the two texts, which follow the poems themselves. His edition of Oppen's various prose forthcoming from the University of California Press will be a welcome addition to the canon.

Then the river necessarily widens for me, from friends of years, such as Burt Hatlen, Peter Quartermain and Ted Enslin, to those younger as Charles Bernstein, Stephen Fredman and John Taggart. All have had much to do with Oppen and they were much in my own mind as I attempted to resolve this book. My work was always fact of any day's instance—conversation with a friend such as Ben Friedlander, or Carla Billitteri's prompt help with getting the Selected Letters from the University of Maine at Orono's library. I talked to each a good deal about Oppen, about my own questions and confusions, all of which is composted here in one way or another. Finally I thank my editor in this undertaking, Jeffrey Yang of New Directions, whose useful enthusiasm and clarity made for me all the difference. Thus being instance "of being numerous" has its enduring pleasure.

Robert Creeley
Buffalo, New York
December 28, 2002

link | 04-16-08

Girly Man New in Paper

Sat, 19 Apr 2008 07:26:16 -0700

Girly Man
New in paper
Reviews
$15
Support independent boosktores.
Order from Rod Smith at Bridge Street Books.
There are two ways to order: 1. E-mail your order to <rod /at/ bridgestreetbooks.com> with your address & they will bill you with the books. or 2. via credit card-- call 202 965 5200 or e-mail w/ yr add, order, card #, & expiration date & they will send a receipt with the books.

link | 40-06-08

Aimé Césaire (1913-2008)

Sat, 19 Apr 2008 06:35:39 -0700

Aimé Césaire (1913-2008)

Clayton Eshleman reading Notebook of a Return to the Native Land, Part One
Clayton Eshleman reading Notebook Part Two
courtesy PennSound
AP news report
International Herald-Tribune
Times of London

link | 04-17-08

Henry Hills on PennSound

Tue, 15 Apr 2008 12:39:40 -0700

PennSound is pleased to announce selections from
Henry Hills
Emma's Dilemma
(1997-2004)

including "King Richard" (portrait of Richard Foreman)
& "Nervous Ken" (portrait of Ken Jacobs)
plus the sections serialized on this web log, & including

"Maybe (or, In Pursuit of Parker Posey)" with Emma Bee Bernstein

(. mov, 14 mb, 2:26)
PennSound Special Edition: full screen version (.mov., 531mb)

PennSound Emma's Dilemma page

PennSound Hills page with new streaming versions of his films

thanks to Danny Snelson for the design of these PennSound pages.

photo of Hills: 2006, Bernstein/PennSound

link | 4-13-08