In her 2016 AWP keynote address, Claudia Rankine discussed racial descrimination as it's experienced in institutions such as MFA programs, often in subtle ways that have to do with assumptions about representation, not just of racial identity, but of experiences formed in relation to that identity.  She also got more personal, and reflected on her own biases.  At some point, Claudia also read two poems of mine, called 'Cloak.'  The first poem appeared in my second book (in 2006); the second poem is new--I discovered it by breaking open the clean lyric surface of the first version to look for a previously suppressed set of memories about a childhood friend who is black.  The two poems now exist side by side and appear in the AWP Writers Chronicle reprinting of Claudia's keynote address.  An article about the keynote address appeared online at the culture site of New York magazine.

Brian Teare and I read in spring 2014 at the Enoch Pratt Free Library in Baltimore. It's great to have him here on the east coast, where he's now teaching at Temple University.  I think his new book, Companion Grasses (Omnidawn) is beautiful.  This is an archived recording of the reading.  Brian ends with a longish elegy for the poet Reginald Shepherd that I was quite touched by.  
My nephew, Noah, made this stopmotion adapt-ation of my poem, 'Searchlight,' with some schoolmates.  

In summer 2014 I met with Steven Rajam of BBC Radio 3 to talk about the life and work of the poet Thom Gunn for a full length feature.  The program ran on January 5th, 2015, and is now archived. I come in towards the end, after many stirring interviews with others, to talk about the last poem, 'Dancing David,' in Gunn's last book, Boss Cupid.   I chose the poem, 'To Cupid,' to read out loud, but it didn't make the final cut.  Stand outs by others include a wonderful reading of Gunn's great poems, 'Lament' (Tom Sleigh); 'Tamer & Hawk' and 'Touch' (Clive Wilmer); and 'The Hug' (read by Thom's lover, Mike Kitay).  The program, 'Appropriate Measures,' is narrated by the novelist, Colm Tóibín.   

The Canadian poet and one-man industry, rob mclennan, asked me to contribute to his column devoted to poets describing their writing days.  

Here are some new poems at Manchester Review that I wrote while living in Berlin 2012-13 on the Amy Lowell Poetry Traveling Scholarship.  

Deborah Ager and I had a conversation 

in December 2013 about living in Berlin and writing poetry--a posting on the Best American Poetry blog.  Deborah is the editor with M.E. Silverman of the Bloomsbury Anthology of Contemporary Jewish American Poetry, which reprints 'Psalm,' the first poem in my first book.


Sixteen years ago, I asked Anne Winters if she would send me a poem for Tikkun; (I had been on the editorial staff, working on the poetry-end of things, since 1987, but had only recently taken on the role of poetry editor). Although she had published just one book of poetry – The Key to the City (1986) – it had widely established her reputation as a poet whose far-reaching originality was imbricated with startling detail, a formal plain-style virtuosity grounded in an ethical imagination that stays open to phenomenal mystery. 

 

[This is the beginning of an essay about Winters' poem 'The Displaced of Captial,' that I wrote to help celebrate Tikkun's 

30th anniversary.]

One of the poems from the third book has been posted on the Tikkun magazine website.  The poem takes place on the red line Metro in DC, although it could be any metro system in the world

--the NPR program 'Berlin Stories' also ran the poem last spring; you can hear a recording by hiting the blue 'National Public Radio' button above.

Berlin Notebook

Hallesches Tor U-bahn station, Berlin

Berlin Notebook: Where Are the Refugees? started as a straightforward journal transcription of my experiences in Berlin during October 2015, a time when the influx of refugees in Germany and the rest of Europe was peaking. 

 

Berlin Notebook posted daily at The Los Angeles Review of Books through the month of February.  LARB published the Notebook in fall 2016 as an e-book download from their homepage (as well as Amazon, B&N, iBooks, Kobo) with new material from a second visit in April 2016.  Proceeds will be donated to the International Rescue Committee, that does so much to help refugees all over the world.  You can also find Berlin Notebook at the newly re-launched LARB 

site.  Previously unpublished entries also appear in the summer 2016 issue of The Threepenny Review and Tikkun; and an excerpt of the book has been published at B O D Y.

The complexity of the refugee crisis in Germany is conveyed in this insightful narrative that tells the story not only of the refugees themselves, but also of a country, its history, and its culture. What began for poet Weiner (The Figure of a Man Being Swallowed by a Fish) as a series of articles for a newspaper, written during his visit to Germany in October 2015 at the height of the refugee influx from Syria, turned into this updated “notebook” following his return to Germany to follow up on the crisis in April 2016. In this free-flowing narrative that includes interviews with a wide range of people, both refugees and Germans, Weiner reveals both the logistical and underlying ideological issues involved in refugee resettlement. Revealing how stereotypes oversimplify situations and beliefs, Weiner conveys the refugees’ dignity and also sheds light on Germany’s sociopolitical issues. Weiner’s lyrical and affecting writing style betrays his poetry background, complementing journalistic frankness that captures the richness of the people and the city and makes the strife all the more hard-hitting. This beautiful study and exploration of people and values possesses relevance far beyond Berlin.  

 

                                           -- starred review, Publishers Weekly

Berlin Notebook:

Where Are the Refugees

This is a pdf download of Berlin Notebook.  If you buy it as an e-book, money goes to the International Rescue Committee.  If you download here, please consider making a donation to the IRC.

Everything I Do I Do Good: Trumpoems

Everything I Do I Do Good: Trumpoems was published in spring 2018 on the 'Dispatches from the Poetry Wars' website as a virtual free chapbook that can be read in the flipbook format online, or downloaded as a pdf.  Some of the poems originally appeared in the Resist Much/Obey Little anthology (below).  Click the cover image to the right to go to the page at 'Dispatches'.

Here are some readings over the past several years that have been archived and made 

available for viewing.  

One of the first books I read after returning from Berlin in October 2015 was Anna Seghers' modern refugee novel, Transit.  I couldn't stop thinking about it.  That's when I know it's time to try to write something.

The video of this reading in Poland, July 2013, is not very good; also I was reading without a mic, and deliberately slowly because I knew the audience was not fluent in English.  But it was a fascinating reading to do, in a very cozy atmospheric fisherman's house near the port.  

If you saw Quentin Tarantino's movie Death Proof then you heard my fab sister-in-law April March (Elinor Blake) sing her hit, 'Chick Habit' 

following the final stomp on Kurt Russell's throat. Here you can read some liner notes I wrote for her, in her voice, for a new Serge Gainsbourg tribute album.

Anthony Madrid asked if I'd submit an essay to his issue of American Book Review, devoted to 'erotic poetry' (not his choice of topic).  It sounded like a bad idea for an issue, but then I started thinking of Mina Loy's 'Songs to Johannes' and how I first read them as a teaching assistant for Thom Gunn's Modern Poetry course at Berkeley, and how sure I am that Loy's notorious sequence influenced Gunn's poem, 'To Cupid,' a great but little discussed poem from his last book.  The essay practically wrote itself.  A pdf of the essay is below, ready to download, as well as a link to the issue.

LOY GUNN CUPID

Joshua Mensch over at B O D Y helped me design this animated erasure translation of Goethe's poem 'Wandrers Nachtlied,' purportedly the most famous lyric in German.  

This poem came out of obsessive listening to John Fahey's last recording, City of Refuge, and one of his most extraordinary earlier ones, America.  I was also reading his great book, How Bluegrass Music Destroyed My Life.  Fahey grew up in Takoma Park, not far from where I live in D.C.  There was more than one kind of proximity that lead me to this poem.  Here it is, as a pdf download, from Literary Imagination, where it first appeared.  

'City of Refuge:

John Fahey'

Deborah Ager interviewed me for a blog post she was writing at Best American Poetry.  We talked about "being a Jewish writer," whatever that might mean, living in Berlin, and the poetry scene now in Germany.

Thomas Whyte asked me some questions for a mini-interview that ran over four weeks in June-July 2019.

In October 2017, Andrew Joron and I entered a correspond-ence that touched on subjects ranging from catastrophe, to surrealism, the irresponsible play of the imagination, utopianism, poem & world as ongoing process, translation, the relation between sound & silence, writing science fiction, and other stuff that makes you feel trippy.  It was published by Chicago Review on their website.

I read poems by Bertolt Brecht as part of a program sponsored by the Goethe-Institut in D.C. that included some scenes from Brecht's play, The Resistable Rise of Arturo Ui, performed by Scena Theater under the direction of Robert McNamara.  It was challenging, but I somehow made it out alive.

The photograph to the left is a well known image of the Wright Bros. at Kitty Hawk, NC, in December 1903, from the online National Archives in Washington DC.   The link connects you to a reading of a poem I wrote in response to the image, as part of the National Archives Month celebration in October 2014.   The text of the poem can be found at the Academy of American Poets website, linked here.  

The Folger Shakespeare Library in D.C. featured poets writing in response to those  plays on the theater's schedule.  I shared the stage with Hayes Davis prior to a performance of Julius Caesar.  Teri Cross Davis subsequently edited a special issue of Beltway Poetry Quarterly that reprinted some of the poems read in that program.

The Polish artist, Henryk Cześnik, recently exhibited a series of paintings at the Gdańsk Shakespeare Theater, inspired by Shakespeare's plays. Tadeusz Dabrowski invited poets from around the world to contribute a poem responding to one of the paintings.  This is the one I chose, to pair with my poem, "The Winter's Tale," about watching my son play the role of the young prince in a student production at George Washington University in 2005.  The pairings of paintings & poems were published as a book, Henry Cześnik and His Poets (Gdańsk, 2016).  Some of the other poets include Dabrowski, Michael Krüger, Timothy Donnelly, D.A. Powell, and Tomasz Różycki.  The paintings are startling in their violent affects, their dramas of dismemberment and suffering, and their layered revelations of being haunted.

Ernst Jandl (1925-2000) was one of the great post-WWII Austrian poets and playwrights, associated with the Wiener Gruppe.  One of the most important avant-garde & experimental circles of European modernism, it included the poet Friederike Mayröcker, Jandl's life-long partner.  His poem, 'the usual rilke,' is a series that both satirizes and pays homage to Rilke, one of the giants in German language poetry.  The poem appeared in the summer translation issue of Poetry.  

In 2005 I edited an issue of the journal TriQuarterly, with contributions from Elizabeth Arnold, Jennifer Clarvoe, Simone DiPiero, Elaine Equi, David Ferry, Major Jackson, Heather McHugh, Stanley Plumly, Claudia Rankine, Alan Shapiro, Merle Collins, and an essay on 'Lyric Thinking' by Robert von Hallberg, among others.  You can find a digital copy of the issue below.  

Here's a short essay about the great radical American poet, Thomas McGrath.  It begins with an ancedote about my visit with him in Minneapolis during the Iran-Contra hearings.  That interview, which I did for an MA thesis, later appeared in a special issue of TriQuarterly.  

On Day 1 of the CODEPINK #IraqTribunal, participants provided testimony on the lies that were used to invade Iraq.  I read my poem, "To Disturb Profoundly the Senses," a kind of montage poem made of language taken from the so-called "Torture Memos" penned by the "Bush Six" in the Office of Legal Counsel.  The poem can be found at the B O D Y literature website.

Three new poems in Manchester Review, one dedicated to the Cape-based artist, Bailey Bob Bailey, another to poet John Fitzpatrick, and the last about getting a phone call from Hong Kong.

The video on the right was taken at the 'Lunch Poems' reading series in the Morrison Library at UC Berkley in February 2015.  I hadn't been in Berkeley since archival work at Bancroft on the book of essays about Thom Gunn. It was pretty redolent to be back on old stomping grounds for this reading.  I read almost the whole of the longish poem, 'Rock Creek (II).'  Seeing Doug Powell there at the reading was especially warm--he was the first one to read the poem a few years earlier up at the Vermont Studio Center, where I had just finished drafting it; his encouragment was a great boost.  

 

Back in 2006, Robert Pinsky, then U.S. Poet Laureate, wrote about my poem "Hanging Mobile", for his "Poet's Choice" cooumn.  My dad came across the clipping, that I had lost.

Washington Post

The Nervous Breakdown, an online journal, asked me to do a self-interview.  "Have you ever done a self-interview before?" I asked myself.  "Isn't that what writing is?" I answered.  A weird but welcome opportunity to think again out loud about the idea of self as subject of self-inquiry.

The 2014 issue of TOPOS magazine arrived from Sopot, Poland, with a shockingly large pull-out poster of my poems translated by Tadeusz Dabrowski.  My visit to Sopot two years ago stays with me: amber from the Baltic, where swans swim on the brackish surf; the crazy reading in an old renovated fishing cottage

in Gdynia, where I was grilled about Ashbery's negative influence on contemporary Polish poetry, and if I was proud to be an American, followed by dangerous rounds of a honey vodka chased by powerful lagers; visiting the spot where WWII started and Communism ended; and the oddity (for me) of bumming around a Polish seaside city. 

 

Praise for 

 

The Figure of a Man Being Swallowed by a Fish

No other poet of his generation is writing this masterfully and mindfully. What an intense, scrutinizing talent, what a fabulous, incomparable new book. —Terrance Hayes

 

© 2012 by Joshua Weiner

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