{"id":12413,"date":"2014-10-14T09:00:05","date_gmt":"2014-10-14T13:00:05","guid":{"rendered":"https:\/\/pierrejoris.com\/blog\/?p=12413"},"modified":"2014-10-13T11:01:55","modified_gmt":"2014-10-13T15:01:55","slug":"just-published-barzakh-poems-2000-2012","status":"publish","type":"post","link":"https:\/\/pierrejoris.com\/blog\/just-published-barzakh-poems-2000-2012\/","title":{"rendered":"Just Published: Barzakh (Poems 2000-2012)"},"content":{"rendered":"<h3 style=\"text-align: center;\"><img decoding=\"async\" class=\"aligncenter size-full wp-image-12419 lazyload\" data-src=\"https:\/\/pierrejoris.com\/blog\/wp-content\/uploads\/2014\/10\/Joris-Cover-draft2-e1413210278437.jpg\" alt=\"Joris Cover draft2\" width=\"490\" height=\"739\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 490px; --smush-placeholder-aspect-ratio: 490\/739;\" \/><a href=\"http:\/\/www.blackwidowpress.com\/\">Black Widow Press<br \/>\n<\/a>or via <a href=\"http:\/\/www.amazon.com\/Barzakh-Poems-2000-2012-Pierre-Joris\/dp\/099600792X\/ref=sr_1_5?ie=UTF8&amp;qid=1413211364&amp;sr=8-5&amp;keywords=barzakh\">Amazon<\/a>.<\/h3>\n<blockquote>\n<h3 class=\"p1\" style=\"text-align: center;\"><strong>From the back cover:<\/strong><\/h3>\n<p class=\"p1\" style=\"text-align: justify;\">ON BARZAKH:<\/p>\n<p class=\"p1\" style=\"text-align: justify;\">A magnificent multi-layered tome from the brilliant poet and translator (of German, French and Arabic) whose erudition and deep engagement with the doings of <i>humanitas <\/i>are on full display. From a lyrical bi-lingual ode to Kerouac through DIS\/ASTER-OILDRECK, we are drawn into a kinetic weave of world and language. \u201cThe brain amazed\/that shaped air\/ makes sense\/in difference.\/Shut your brain port.\/ (as if, as if)\/ for a moment\/ open your mouth\/be wet sweet breath\/be dew\/be dew\/be the beduin\/ letter.\u201d A book for the time, for all times, for its care, its passion, its urgent soundings.<br \/>\n\u2014\u00a0Anne Waldman<\/p>\n<p class=\"p1\" style=\"text-align: justify;\">ON PIERRE JORIS:<\/p>\n<p class=\"p1\" style=\"text-align: justify;\">Pierre Joris is a genuine Luxembourgian Yankee, who has invaded the American language, not to plunder but to enrich us with his presence. The scope of the work is large, the thrust is synthesizing, the idiom particular and rich. A renard-coyote, his accomplish-ment is there for all of us to see and hear.<br \/>\n\u2014 Jerome Rothenberg<\/p>\n<p class=\"p1\" style=\"text-align: justify;\">&#8230;Pierre Joris is a wonderful poet of remarkable breadth of concern and lyric occasion.<br \/>\n\u2014 Robert Kelly<\/p>\n<\/blockquote>\n<div class=\"page\" title=\"Page 7\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p style=\"text-align: center;\"><strong>TABLE OF CONTENTS<\/strong><\/p>\n<p style=\"text-align: center;\"><strong><em>I. Prologue: End of Century Revisitation, or, A Closer <\/em><\/strong><\/p>\n<p style=\"text-align: center;\">Canto Diurno # 2: A \/ To Jack Kerouac : Ode Bilingue | 17<\/p>\n<p style=\"text-align: center;\"><strong><em>II. 2000 etcetera: the Barzakh<\/em><\/strong><\/p>\n<p style=\"text-align: center;\">eyes | 30<br \/>\nred crane crosses window | 31<br \/>\nThis afternoon Dante | 32<br \/>\nthere is no weather this morning | 33 desire of a line| 34<br \/>\nwave to the three women | 35<br \/>\non the back porch again | 37<br \/>\nTuesday, May 23rd, 2000 | 38<br \/>\ncare of house, dead | 39<br \/>\nevening writing | 40<br \/>\nbut mind has no care | 41<br \/>\nShaman\u2019s Dream Question | 42<\/p>\n<p style=\"text-align: center;\">Seven Elegies Preceded By A Meditation Postmodern Elegy | 44<br \/>\n1. Telegrammatica Per Franco | 45<br \/>\n2. For O.P. | 46<br \/>\n3. with Armand in mind | 47<br \/>\n4. For Barry MacSweeney dead this week at 51 | 48<br \/>\n5. A calm vademecum dose | 50<br \/>\n6. for R.C. \u2014 A Man for all Occasions | 52<br \/>\n7. Nattell is | 53<\/p>\n<p style=\"text-align: center;\">EP: heard, not seen | 56<br \/>\nReading \/ Writing # 18 | 57 Monsoonish | 61<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" style=\"text-align: center;\" title=\"Page 8\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>A Later Lemur Offering | 63<br \/>\nFirst Lemur Mourning | 65<br \/>\nThree Little Proses | 66<br \/>\nMeasure | 68<br \/>\nOut Between | 69<\/p>\n<p>Gymnastics, anybody? | 71<br \/>\nNow the bell tolls | 73<br \/>\nThe fire alarms ambulances down Madison | 74<br \/>\n9\/11\/01 | 75<\/p>\n<\/div>\n<\/div>\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>The Rothenberg Variations\u00a0| 77<\/p>\n<\/div>\n<\/div>\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>1\/1\/02 | 93<br \/>\nWhat the dream ends in | 94<br \/>\ndream anguish give | 95<br \/>\n[Introi\u0308t to my Purgatory] | 97<br \/>\nL\u2019Heure Bleue | 99<br \/>\nPoem upon returning to these States after a 6-month absence | 101<br \/>\nI have never | 102<\/p>\n<p>for Gerrit at 75 | 103<br \/>\nA Certain Shabbiness, or:<br \/>\nThe Circus is Leaving Town for Good | 104<br \/>\nApril 1st \u201904 \/ Venice Beach | 105<br \/>\nFOR TOM 107 |<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" style=\"text-align: center;\" title=\"Page 9\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>Three Ontological Goggles<br \/>\n1. Diaspora is | 109<br \/>\n2. Nomadism is | 112<br \/>\n3. Poetry is: Definitions for Tom Nattell | 116<\/p>\n<p>Nimrod | 121<\/p>\n<p>from: An Alif Baa<br \/>\npreamble to an alphabet | 124<br \/>\n\u0627\u0653|125<br \/>\n128 | \u0628<br \/>\n129 | A poem in noon \u0646<\/p>\n<p>Nicou | 134<br \/>\nIt is so like me you | 136<br \/>\n\u201cNothing No one Nowhere Never\u201d | 139<br \/>\nAll you ever can write about | 140<br \/>\nThe Rheumy Eye of Night | 141<br \/>\noh to have an alphabet | 143<br \/>\nAnother end to writing\/reading # 18 | 144<br \/>\nBut the ear | 145<br \/>\nThe monument to the dead | 146<br \/>\nCoils to Scratch | 147<br \/>\nFor an Oud | 149<\/p>\n<p>Pyrenean Notebook<br \/>\nin the golden pheasant | 150<br \/>\nAlong the coast of Sri Lanka fish feed | 151<br \/>\n07.29.09. Bourg d\u2019Oueil | 152<br \/>\nBourg Birds | 153<br \/>\nThe Sanctuary of Hands | 154<br \/>\n7\/23\/14 1:48 PM<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" style=\"text-align: center;\" title=\"Page 10\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>The Fez Journals<br \/>\nOn Miles\u2019 13th birthday | 159<br \/>\nBab Bou Jeloud | 161<br \/>\nIn Fez | 163<br \/>\nIn Larache | 164<br \/>\nto go to the bottom of the pool | 167<br \/>\nLooking out over Fez \u2014 | 168<br \/>\nOn the terrace of the Star of Fez | 169<br \/>\nPools are for fools. | 170<br \/>\nSunday morning 7 a.m. | 171<br \/>\nWhat if the birds were the shadows | 172<br \/>\nNational Characters | 174<br \/>\nthe heat is in the soup, | 175<br \/>\nthe star of Fez again | 176<br \/>\nLeaving Fez | 178<\/p>\n<p>Mongolian Capital | 180<br \/>\nthe eighth climate I asked | 181<br \/>\nThe Scumline | 183<br \/>\nAt Justin\u2019s, late | 187<br \/>\nTrust the first word that comes | 188<br \/>\nWrist | 189<\/p>\n<p>Canto Diurno # 4<br \/>\nThe Tang Extending From The Blade | 192<\/p>\n<p>For love | 208<br \/>\nFor Yoori Kang &amp; Joseph Mastantuono, at their Wedding | 211<\/p>\n<p>Canto Diurno #5<br \/>\n1. At the Mondrian | 213<br \/>\n2. Lunch at La Grille (1.30 p.m.) | 216<\/p>\n<p>There are ways and then there are ways to make this page wider | 219<br \/>\nBlurb for Hu\u0308tte | 221<br \/>\nReading Edmond Jabe\u0300s | 222<br \/>\nPapyrus | 223<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" title=\"Page 11\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p style=\"text-align: center;\">Letter to Steichen\u2019s Ed | 224<br \/>\nI like the imp | 228<br \/>\nIn Praise of Pinot Blanc | 229<br \/>\n48 Words, found, somehow: | 230<br \/>\nThe Autopoetic Path | 231<br \/>\nAnton Webern Returns from Hungary | 232<br \/>\nReading Rothschild &amp; | 233<br \/>\nR.I.P. for C. L.-S. | 235<br \/>\nHomage to Badia Masabni | 236<br \/>\nRoToR response | 237<br \/>\nThis tanker&#8230; | 240<br \/>\nSour Birth | 243<br \/>\nDay\u2019s End Run | 244<br \/>\nWinter Poem | 245<br \/>\nNew Year Poem | 246<br \/>\nWhat I see: | 247<br \/>\nOn Goethe\u2019s Flyleaf | 248<br \/>\nShakespeare\u2019s sonnet #71, re-Englished after Paul Celan\u2019s German<br \/>\nversion without consulting the original | 249<br \/>\nTime is never timely | 250<br \/>\nR Train Spotting | 251<br \/>\nEarly Morning Trail | 252<br \/>\nDear George, | 253<br \/>\nis it a good thing to find | 254<br \/>\nTime is Vexing | 255<\/p>\n<p style=\"text-align: center;\">The Gulf (From Rigwreck to Disaster) | 256<br \/>\nRigwreck | 258<br \/>\nInterlude 1 | 270<br \/>\nLove at First Sight | 272<br \/>\nInterlude 2: | 284<br \/>\nDis\/aster \u2014 Oildreck | 287<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Black Widow Press or via Amazon. From the back cover: ON BARZAKH: A magnificent multi-layered tome from the brilliant poet and translator (of German, French and Arabic) whose erudition and deep engagement with the&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[202,91],"tags":[601],"class_list":["post-12413","post","type-post","status-publish","format-standard","hentry","category-book-launch","category-poetry","tag-pierre-joris"],"_links":{"self":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/12413","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=12413"}],"version-history":[{"count":15,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/12413\/revisions"}],"predecessor-version":[{"id":12431,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/12413\/revisions\/12431"}],"wp:attachment":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/media?parent=12413"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/categories?post=12413"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/tags?post=12413"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}