{"id":10806,"date":"2013-08-10T08:51:48","date_gmt":"2013-08-10T12:51:48","guid":{"rendered":"https:\/\/pierrejoris.com\/blog\/?p=10806"},"modified":"2013-08-10T13:00:30","modified_gmt":"2013-08-10T17:00:30","slug":"review-of-cartographies-of-the-in-between","status":"publish","type":"post","link":"https:\/\/pierrejoris.com\/blog\/review-of-cartographies-of-the-in-between\/","title":{"rendered":"Review of “Cartographies of the In-Between”"},"content":{"rendered":"
\"cartographies\"<\/a>Ambulatory Criticism<\/div>\n
Amanda Montei<\/a><\/div>\n
\n

From:\u00a0American Book Review<\/a>
\nVolume 34, Number 4, May\/June 2013<\/a>
\np. 28 | 10.1353\/abr.2013.0057<\/p>\n<\/div>\n

In lieu of an abstract, here is a brief excerpt of the content:<\/em><\/p>\n

\u00a0Pierre Joris is perhaps best recognized for his work as a translator, particularly for his award-winning translations of Paul Celan\u2019s poetry, though he has also authored more than two-dozen books of poetry and has collaborated on numerous editorial projects and multimedia performances.\u00a0Cartographies\u2014the first edition to examine the ambulatory career of \u201cnomadic\u201d poet Pierre Joris as a poet, performer, critic, translator, and editor\u2014does not anthologize Joris\u2019s work nor seek to compose a larger totalizing argument about Joris\u2019s polyvalent intellectual labor. Instead, this book, edited by Belgian poet and translator Peter Cockelbergh, is a compilation of essays about Joris and the legacy of his diverse body of work. The anthology takes its queue not only from Joris\u2019s multilingual poetic practice, but also from Joris\u2019s theoretical concerns. In the 2003 treatise\u00a0A Nomad Poetics, Joris outlines a conceptual framework deeply invested in Deleuze and Guattari\u2019s model of the rhizome. Nomad poetics, Joris\u2019s signature praxis, emphasizes the alienation of language (\u201cOne always writes in a foreign language,\u201d he writes in \u201cA Glottal Choice\u201d), the liminal or in-between or collaged subject, and \u201ca poetico-political engagement with questions of linguistic migration, colonial and counter-colonial histories.\u201d<\/p>\n

True to this peripatetic approach, the book organizes itself around \u201cmeridians\u201d that Cockelbergh insists \u201cdo not divide a landscape in strict and separated areas (or time zones), but rather serve as loosely drawn, multiple middles rubbing through different essays, and connecting these with different aspects of the poet\u2019s oeuvre.\u201d Obviously, the landscape here is the poet\u2019s\u00a0oeuvre, but the performative and often playful introduction also attends to the transnational (indeed, nomadic) aspect of Joris\u2019s career. In fact, the embodied, unsystematic nature of the book\u2019s section headings\u2014which take their titles from Joris\u2019s poetry\u2014suggest that, like his poetics, the compilation\u2019s organizing framework challenges normative spatial-temporal relations. The essays collage and manipulate genre, and tend to use Joris as an entry-point into their own critical conversations, legitimating the claim that Cockelbergh makes in the introduction, that Joris is a kind of \u201cnomad travelling between languages & continents,\u201d and certainly between various theoretical and literary models.<\/p>\n

The five sections, which give a good indication of the editorial fever at work in the book, are titled as followed: \u201cfiliations, \u201c \u201cen route,\u201d \u201cspaces,\u201d \u201ctrans|,\u201d and \u201cPoPoPo.\u201d<\/p>\n

\u201cFiliations\u201d traces some of the major influences and forebearers to Joris\u2019s poetry, and outlines Joris\u2019s own literary reverberations. Jennifer Moxley draws a lineage ranging from Mallarme to Robert Duncan, with special emphasis on Joris\u2019sCanto Diurno\u00a0(2010) and\u00a0Hearth-Work\u00a0(1977). Franco Bellarsi gives credence to the influence of the Beat Generation, while Christopher Rizzo deploys Charles Olson as a frame. Dale Smith furthers this literary constellation, exploring Joris\u2019s influence on poets Ed Dorn and Robert Creeley, as well as other poets associated with the New American Poetics of the 1970s.<\/p>\n

\u201cEn route,\u201d the section that follows, attends more explicitly to Joris\u2019s poetics, with special attention to nomadicity and rhizomatics. Perhaps the most exciting vein in this section, and a connection\/contestation that persists in several essays in the book, is the link Louis Armand furthers between the work of Charles Olson and Pierre Joris. For Armand, Joris\u2019s post-collage \u201cnomadology\u201d and \u201cthe struggle to articulate a poetics not bound by historical paradigms\u201d present an answer to the limitations of Olson\u2019s well known concept of \u201cprojective verse.\u201d Also included in this section is a panoramic interview of Joris by Charles Bernstein that touches on American monoculturalism, non-American poetry, and Joris\u2019s experiences translating the post-9\/11 critical work\u00a0The Malady of Islam\u00a0(2003) by Abdelwahab Meddab from the French. Particularly worthy of note is a timely discussion of the subsequent co-opting of this text by right-wingers in America.<\/p>\n

In \u201cSpaces,\u201d Christine Hume meditates on Joris\u2019s \u201ctraffics in multi-media,\u201d with specific attention to the track \u201cAegean Shortwave,\u201d which appears on Joris\u2019s CD recording\u00a0Routes, Not Routes\u00a0(2006). Hume characterizes this work of vocal and sonic manipulation as one that points listeners \u201cbeyond the reaches of shortwave,\u201d in which \u201cradio static becomes ocean, a horizon…<\/p>\n

(ctd. in American Book Review<\/strong> &\/or on Project Muse site<\/a>)<\/p>\n

 <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Ambulatory Criticism Amanda Montei From:\u00a0American Book Review Volume 34, Number 4, May\/June 2013 p. 28 | 10.1353\/abr.2013.0057 In lieu of an abstract, here is a brief excerpt of the content: \u00a0Pierre Joris is perhaps...<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22],"tags":[884,601],"class_list":["post-10806","post","type-post","status-publish","format-standard","hentry","category-book-review","tag-peter-cockelbergh","tag-pierre-joris"],"_links":{"self":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/10806","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/comments?post=10806"}],"version-history":[{"count":5,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/10806\/revisions"}],"predecessor-version":[{"id":10813,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/10806\/revisions\/10813"}],"wp:attachment":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/media?parent=10806"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/categories?post=10806"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/tags?post=10806"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}