Produced by the Poetry Foundation to accompany the June issue of Poetry magazine, which was entirely devoted to the two-line Afghani poems known as landays. Seamus Murphy‘s film includes lots of stunning shots, and displays familiarity with the filmpoem genre in its imaginative conjunctions of text and image. Murphy has been taking still photographs in Afghanistan since 1994, and some of them accompany his fellow journalist Eliza Griswold‘s essay on, and compilation of, landays for the magazine. One thing the film contributes to the issue is the sound of the Pashto originals, which aren’t otherwise included in the online feature.
A story from PBS NewsHour provides additional background about the project:
Produced by Norbert Lempert of REMproductions in association with the Poetry Foundation. Gerald Stern is as much the poet warrior now as when he stunned the poetry world thirty years ago with his book Lucky Life. In that book he first staked out a place for himself and readers that he has continued to make, a place that in his words is “overlooked or ignored or disdained, a place no one else wanted.” This short documentary film, illustrated with materials from Stern’s own archive, features some of Stern’s best known poems. It also includes commentary by poets Ross Gay, Edward Hirsch, Anne Marie Macari, Heather McHugh, and Thomas Lux, each with a unique perspective on Stern as artist and friend.
I thought this would be a good pick for the U.S. Independence Day holiday, especially given the way Stern, Hirsch and Macardi discuss the climate for poetry in the U.S. starting around 2:30 in Part 1. There’s also this from Stern in Part 2, beginning at 2:58:
We remember the famous words: After the Holocaust, after Shoah, there can be no poetry. And the alternative is: After the Shoah, there can be ONLY poetry. “How about no parades, no cannons, no atom bombs? How about no concentration camps, the way the United States runs concentration camps now?” is another way of thinking about it.
I also like Hirsch’s description of Stern in Part 3, starting at 0:38:
He’s really a poet of the egotistical sublime. The I stands in for the natural world, and for the whole world. And he’s experiencing everything himself.
For more on Gerald Stern, and to read samples of his work, see the Poetry Foundation’s page, which includes 32 poems in text form and 12 audio files.
Raymond McDaniel reads a poem from his collection Saltwater Empire, which recently came under attack for its use of Katrina survivors’ words as “found poetry.” He defended himself here. It’s interesting that despite the huge volume of commentary both essays attracted, on the Poetry Foundation site and elsewhere, this video from his collection (albeit for a different poem than the lengthy one under attack) had been viewed just six times in the 19 months since it was posted on YouTube. It’s almost as if all the people criticizing McDaniel have never made even a cursory effort to familiarize themselves with his work.
As long as I’ve been doing this site, I still haven’t posted quite all the videos from the “Poetry Everywhere” series of animations by students at docUWM, the documentary media center based in the University of Wisconsin-Milwaukee Film Department, produced under the aegis of the Poetry Foundation. As usual with this series, the poet himself is the reader here.
Best bilingual poem ever? Well, maybe not, but the last line is perfect.
For background on Guevara, see the Poetry Foundation site.
Rest in peace, Lucille Clifton.
A piece by Matthea Harvey, delightfully illustrated by Joseph Kraemer for the Poetry Foundation’s Poetry Everywhere series.