From The Waste Land to recent sprawling Conceptualist and computer generated mega-texts, the long poem has paradoxically operated as both a kind of generic contradiction (as Ezra Pound put it, “dichtung=condensare”) and as the apotheosis of the poetic mode altogether. How do we understand the dynamics of such a form, and how do we classify its various instantiations? What does the long poem reveal about the world that is unknowable in another form?
Poetry Reading (chair: Michael Golston)
Panel 1 (Chair: Giddon Ticotsky)
Lilach Lachman: “Ktav-Adam:Avot Yeshurun, the Long Poem, and Poetic Historiography”
Serge Gavronsky: “Writing in Tongues, from St. Jerome to Zukofsky's Catullus”
Panel 2 (Chair: Michael Golston)
Uri Cohen: “Yehuda Amichai: War and the Length of Poems”
Dee Morris: “Sounding Grievable Lives: M. NourbeSe Philip’s Zong!, Caroline Bergvall’s Drift, and the Contemporary Long Poem”
Panel 3 (Chair: TBA)
Elik Elhanan: “"to pierce a hole in the sky": Iconoclasm in Perets Markish and Uri Zvi Greenberg's long Yiddish poems"
Peter Middleton: “"There is opacity now at the bottom of the mirror": The aesthetics of difficulty in the contemporary long poem”
Panel 4 (Chair: Vered Shemtov)
Marjorie Perloff: “Funny Peculiar or Funny Ha Ha: Recalculating the Long Poems of Charles Bernstein”
Michael Gluzman: "Hesiod, the Rabbis and Robert Lowell: Aharon Shabtai's Path to the Long Poem"