Bøger af Bernadette Mayer

This landmark early book (its original printing by Angel Hair Books was 750 copies, and they are now extremely rare) by the late great Bernadette Mayer is finally available again, both as a tribute and a joy to read. Mayer was a marvelous poet in every stage of her long and prolific writing life, but many fans most admire her restless, powerful, sexy, and erudite early work. One of her signal elements is a certain deadpan wit, on full display here with classics such as "Lookin' Like Areas of Kansas" or "What Babies Really Do," or the marvelous "Essay":I guess it's too late to live on the farmI guess it's too late to move to a farmI guess it's too late to start farmingI guess farming is not in the cards now...I guess farming is really out ...I don't want to be a farmer but my mother was rightI should never have tried to rise out of the proletariatUnless I can convince myself as Satan argues with EveThat we are among a proletariat of poets of all the classesEach ill-paid and surviving on nothingOr on as little as one needs to surviveSteadfast as any farmer and fixed as the starsTenants of a vision we rent out endlessly

Part springtime journal ("why are there thorns?"), Works and Days meditates on the first wasps and chipmunks of the season, times' passage, grackle hearts, and dandelions, while also collecting dozens of poems considering the Catholic Church, Sir Thomas Browne, "Go Away" welcome mats, books, floods ("never of dollar money"), the invention of words, local politics, friendships, property development, dogs, and Hesiod. Every page delights. As the poet herself notes: "My name is Bernadette Mayer, sometimes / I am at the head of my class."

American poets Clark Coolidge and Bernadette Mayer produce a multi-layered collaboration of prose and verse.

New work from one of America's most original experimental poets. Comprised almost entirely of never-before-collected poems, Scarlet Tanager is Bernadette Mayer's first collection of new work in nearly a decade. Mayer, "one of the most original writers of her generation" (The Washington Post), has mixed together here delightful epigrams ("The Mammal Epigram": "Sexually / it's cute"), long-line free verse, and her astonishing sonnets. There are also curious translations of Mayer poems into joking, free-styling French, which are then re-translated back into English, landing somewhere extremely witty and quite some ways from the original. There is no one writing today who can touch Bernadette Mayer for sheer pleasure and throw-away brilliance.

"What a clear, insistent health there is here--as if the so-called world were seriously the point, which it is, and we could actually live in it, which we do. Truly this is the best How To book I've read in years. Bernadette Mayer makes a various world of real people in real times and places, a fact of love and loving use. She has impeccable insight and humor. She is a consummate poet no matter what's for supper or who eats it. Would that all genius were as generous." -Robert Creeley

Milkweed Smithereens gathers lively, wickedly smart, intimate, and indelible Bernadette Mayer poems: the volume ranges from brand-new nature poems, pastiches, sequences, epigrams, and excerpts from her Covid Diary and Second World of Nature to early poems and sonnets found in the attic or rooted out in the UC San Diego archive. The world of nature and the pandemic loom large, as in her "The Lobelias of Fear":...but how will we, still alive, socializein the winter? wrapped in bear skinswe'll sit around pot-bellied stoves eatingthe lobelias of fear left over from desperation,last summer's woodland sunflowers and bee balm remind us of blackcherries eaten in a hurrywhile the yard grows in the moonlightshrinking like a salary ...

Bernadette Mayer and Lewis Warsh wrote Piece of Cake as a work of collaborative prose poetry, based on a process of each writing on alternate days in the course of August of 1976-the bicentennial year of the America''s Declaration of Independence. It recounts the quotidian details of daily activities, negotiating the exigencies of young, married-with-children life, the artistic path and citizenship. It has the classic "I did this, I did that" of a New York School of Poetry text, as characterized by the poetry of Frank O''Hara, and is somewhat reminiscent of Mayer''s work Studying Hunger Journal, written not long before taking up Piece of Cake. Another distinguishing feature of this work is that it is arguably the first significant male-female collaboration in 20th century American poetry. Regarding the possible derivation of the work''s title, and exemplary of the work''s tenor, is the start of Warsh''s entry of August 29: "I also recall getting up and eating a piece of left-over cake (a very sweet store-bought cake with green or possibly pinkish icing) and drinking a glass of milk at the kitchen window. Empty streets, no moon. Michael and Twinkie asleep on the floor of Bernadette''s room, Guy and Karen in mine, Bill on the couch in the living room. Marie in her crib. Everyone ''dead to the world,'' a phrase I dislike, what a full house."

"Midwinter Day," as Alice Notley noted, "is an epic poem about a daily routine." A poem in six parts, Midwinter Day takes us from awakening and emerging from dreams through the whole day-morning, afternoon, evening, night-to dreams again: ". . . a plain introduction to modes of love and reason/Then to end I guess with love, a method to this winter season/Now I've said this love it's all I can remember/Of Midwinter Day the twenty-second of December//Welcome sun, at last with thy softer light/That takes the bite from winter weather/And weaves the random cloth of life together/And drives away the long black night!"

A revered classic of 1970s New York conceptualism, Bernadette Mayer's Memory synthesizes writing and photography in this prescient "emotional science project"A New York Times Book Review 2020 holiday gift guide pick In July 1971, Bernadette Mayer embarked on an experiment: for one month she shot a roll of 35mm film each day and kept a journal. The result was a conceptual work that investigates the nature of memory, its surfaces, textures and material. Memory is both monumental in scope (over 1,100 photographs, two hundred pages of text and six hours of audio recording) and a groundbreaking work by a poet who is widely regarded as one of the most innovative experimental writers of her generation. Presaging Mayer's durational, constraint-based diaristic works of poetry, it also evinces her extraordinary--and often unheralded--contribution to conceptual art. Mayer has called Memory "an emotional science project," but it is far from confessional. This boldly experimental record follows the poet's eye as she traverses early morning into night, as quotidian minutiae metamorphose into the lyrical, as her stream of consciousness becomes incantatory. In text and image, Mayer constructs the mercurial consciousness of the present moment from which memory is--as she says--"always there, to be entered, like the world of dreams or an ongoing TV show." This publication brings together the full sequence of images and text for the first time in book form, making space for a work that has been legendary but mostly invisible. Originally exhibited in 1972 by pioneering gallerist Holly Solomon, it was not shown again in its entirety until 2016 at the Poetry Foundation in Chicago and then again in 2017 in New York City at the CANADA Gallery. The text was published without the photographs in 1975 by North Atlantic Books in an edition that has long been out of print. Bernadette Mayer (born 1945) is the author of over 30 books, including the acclaimed Midwinter Day (1982), a book-length poem written during a single day in Lenox, Massachusetts, The Desires of Mothers to Please Others in Letters (1994) and Work and Days (2016), which was a finalist for the National Book Critics Circle Award. Associated with the New York School as well as the Language poets, Mayer has also been an influential teacher and editor. In the art world, she is best known for her collaboration with Vito Acconci as editors of the influential mimeographed magazine 0 TO 9.

In 1972 Bernadette Mayer began this project as an aid to psychological counseling, writing in parallel journals so that, as she wrote in one (in bed, on subways, at parties, etc.), her psychiatrist read the other. Using colored pens to "color-code emotions," she recorded dreams, events, memories, and reflections in a language at once free-ranging and precise-a work that creates its own poetics. She sought "a workable code, or shorthand, for the transcription of every event, every motion, every transition" of her own mind and to "perform this process of translation" on herself in the interest of evolving an innovative, inquiring language. STUDYING HUNGER JOURNALS registers this intention within a body of poetry John Ashbery has called "magnificent." Made public at last in its gorgeous various and unstinting entirety, STUDYING HUNGER JOURNALS reveals itself to be one of the great in fact epic works of a movement that could never be given a name. No label fit for such limitless activity, its terms being those of our restless language and its relentless go-betweens that move and may alter. Attend therefore and let them have their way, these words given without let and best received in kind. -Clark Coolidge

A reissue of Bernadette Mayer's classic fugitive intergenre text