Originally presented as a speech to the German Academy for Language and Poetry on the occasion of Celan's acceptance of the Georg Buchner Prize for literature, "The Meridian" is one of, if not "the" most important poetological statement of the second half of the twentieth century. Much more than a personal statement or occasional piece, it is a meditation on the state of poetry and art in general and a rigorous attempt to account for what poetry is, can, and must be after the Holocaust. This definitive historico-critical edition, available for the first time in English, presents not only the first drafts, but also a vast array of notes and preparatory work and a brief essay on Osip Mandelstam, all of which work to expand the field of reference of Celan's manifesto and reveal its true scope. Rich commentaries clarify Celan's notes to authors as diverse as Leibniz, Scheler, Kafka, Hofmannsthal, Husserl, Pascal, Valery, Heidegger, and others.
Listen to an interview about Celan's "Meridian" with translator Pierre Joris on the radio program Cross Cultural Poetics, hosted by poet and professor Leonard Schwartz. The shows airs on KAOS 89.3FM Olympia, Washington and is archived online by The University of Pennsylvania's Pennsound.

As we come to the beginning of a new century, we find that the entire vista of modern poetry has dramatically changed. "Poems for the Millennium" captures the essence of that change, and unlike any anthology available today it reveals the revolutionary concepts at the very heart of contemporary poetry. International in its coverage, these volumes bring together the poets and poetry movements that radically altered the ways that art and language express the human condition. "Volume 2" offers a dazzling chronicle of the second "great awakening" of experimental poetry in the twentieth century. Ranging from the period of World War II through the cold war to the onset of the twenty-first century, this volume presents two "galleries" of individual poets such as Holan, Olson, Rukeyser, Jabes, Celan, Mac Low, Pasolini, Bachmann, Finlay, Ginsberg, Adonis, Rich, U Tam'si, Baraka, Takahashi, Waldman, and Bei Dao. There are also samplings of local and international movements: the Beats, the Vienna Group, the Cobra poets and artists, the Arabic-language Tammuzi poets, the creators of a new "Concrete Poetry," the "postwar poets" of Japan, the Italian Novissimi and Avan-Guardia, the Chinese Misty Poets, and the North American Language Poets. In addition, an extended section is devoted to examples of the "art of the manifesto" and two smaller groupings of traditional "oral poets" and of experimenters with machine art and cyberpoetics. Poet-editors Jerome Rothenberg and Pierre Joris provide informative and irreverent commentaries throughout. They challenge old truths and propose alternative directions, in the tradition of the manifestos that have marked the art and poetry of the twentieth century. The result is both an essential resource for experiencing the full range of contemporary poetic possibilities and an arresting statement on the future of poetry in the millennium ahead.

"The word anthology hardly does justice to Rothenberg and Joris's brilliant reconceptualization of twentieth-century poetry in a global context. This is that rare book that forces us to rethink what the poetic is and can be."--Marjorie Perloff

"This book is destined to become a fundamental resource for the study of twentieth-century literature and culture. Its importance cannot be overstated."--Charles Bernstein

"A much broader, much more intelligent sweep, this anthology, than most."--Amiri Baraka

"A riveting literary achievement of phenomenal scope and generosity. Kudos to Rothenberg and Joris for their passionate, discerning editorship, spanning cultures, sensibilities, and languages. This illuminating compendium displays the best of humanity's bardic inheritance and vision. It should be obligatory reading for all scholars, students, writers and lovers of poetry. May the wisdom in these poems benefit us all."--Anne Waldman, Jack Kerouac School of Disembodied Poetics, The Naropa Institute

"Looking back from this end of the century we can begin to see how partial our views of its literary happenings have been: how time-bound, tongue-bound, often celebrity-bound. In an accurately-titled "Poems for the Millennium we can at last sense the scope of the Revolution of the Word that's been in process since--oh, 1895. There's no other anthology like this one, no other overview so venturesome."--Hugh Kenner

"This is not like any other anthology, not a collection of excellences, no absurd imitations of a canon. It's more like a Handbook of Inventors and Inventions, or of Explorers and Discoveries, that opens up all sorts of pathways for poetry from its past and future to a livingpresent. A truly international book of modern poetry that exceeds its claims to move from the "fin de siecle to the poets of "Negritude, as it crosses frontiers of language and culture and genre. This may be the only collection of modernist poetry that reveals its simultaneous connections to an archaic and ecological past as well as a technological future, as it also wipes out rigid distinctions between poets and painters and sculptors and performers. It is above all a book of possibilities and invitations.--David Antin

"The intermingling circles of poetries and cultures move outward to continents & also open up to all times. True cosmopolitanism loves the specifics of little places and small societies--just the right gesture, the precise quaver of the voice, the exact variety of maize. Rothenberg and Joris's anthology gives us, by virtue of its organic structure and inspired choices, the possibility of a kind of situated internationalism, what "modernism" half wanted to become. This is a presentation of a poetics that is already here, but imperfectly recognized. It is a sourcebook for the future."--Gary Snyder

Breccia is an inspired grouping of poems from celebrated poet, translator, anthologist and essayist, Pierre Joris. "[Breccia] is a showcase for poems from roughly twenty, sometimes rather fugitive, volumes, written and published during a time when Joris was living as a kind of postmodern nomad. One of the virtues of this in-gathering of work is that it makes clear the extent to which a sense of 'nomadism' - of being intensely in a place because one knows one has already left it - marks Joris' poetry.... The sense of immediacy in his work is striking. But the images of weather and shifting light and shade that give so many poems their climate of feeling, always play against a complex flow of conceptual activity and the possibility, but only the possibility, of archetypal permanence..." - Don Byrd

In this fourth volume of the landmark "Poems for the Millennium" series, Pierre Joris and Habib Tengour present a comprehensive anthology of the written and oral literatures of the Maghreb, the region of North Africa that spans the modern nation states of Libya, Tunisia, Algeria, Morocco, and Mauritania, and including a section on the influential Arabo-Berber and Jewish literary culture of Al-Andalus, which flourished in Spain between the ninth and fifteenth centuries. Beginning with the earliest pictograms and rock drawings and ending with the work of the current generation of post-independence and diasporic writers, this volume takes in a range of cultures and voices, including Berber, Phoenician, Jewish, Roman, Vandal, Arab, Ottoman, and French. Though concentrating on oral and written poetry and narratives, the book also draws on historical and geographical treatises, philosophical and esoteric traditions, song lyrics, and current prose experiments. These selections are arranged in five chronological "diwans" or chapters, which are interrupted by a series of "books" that supply extra detail, giving context or covering specific cultural areas in concentrated fashion. The selections are contextualized by a general introduction that situates the importance of this little-known culture area and individual commentaries for nearly each author.

"Paul Celan is one of the essential poets--not just of the twentieth century, but of all time. Pierre Joris's selections from the remarkable, heart-shattering work provide what is surely the best one-volume introduction to Celan ever published in English."--Paul Auster"No twentieth-century poet pierces the heart of language with such an exquisite blade as Paul Celan. With Pierre Joris & company's translations of key poems, poetics, letters, and exemplary commentary, it is as if we are reading Celan for the last time, once again."--Charles Bernstein, author of "With Strings"Joris has dwelled during the better part of his life in Celan's words and silences and, as his brilliant introduction demonstrates, he has journeyed through the work's intricacies like very few others."--Michael Palmer, author of "The Promises of Glass"A beautiful--and necessary--book. Celan's charred radiance shines through every page."--Richard Sieburth, translator of "Hymns and Fragments

"The days of anything static--form, content, state--are over," declares poet and translator Pierre Joris in A Nomad Poetics, his first collection of critical essays. Joris maps the success and limitations of contemporary avant-garde poetics, from Tristan Tzara to the most contemporary American experimental poetry, an investigation that leads him to envision a "nomadic poetics" as a strategy for new poetic work, for translation and, fundamentally, for an ethics of early 21st century life. Extending concepts and concerns voiced by Gilles Deleuze and Felix Guattari, A Nomad Poetics is a daring first step in deploying the method of the rhizome, one grounded in Paul Celan's insight that "Reality is not. It has to be searched for and won." With articulate immediacy, Joris's essays announce a metamorphosis of language-based art, much needed if poetry is to be of essential use in shaping the world to come.

Pierre Joris's poems are characterized by an arresting mix of passion and intellect, by what Pound called "language charged with meaning." For Joris, a language is always a second language, and his poetry takes as its main concern the question of marginality and exile. He is unique in being an American poet comfortable in three languages, and his work is filled with a dynamic language play, cross-linguistic puns, and themes of speculation on language, translation, and nomadism. Poasis, Joris's first major publication in the United States, highlights his work since the mid-1980s.

Imperfect Fit: Aesthetic Function, Facture, and Perception in Art and Writing since 1950 is an expansive and incisive examination of the patterns of connectedness in contemporary art and poetry. Allen Fisher-a highly accomplished poet, painter, critic, and art historian as well as a key figure in the British poetry revival of the 1960s and 1970s-has a close and discerning connection to his subjects. In Imperfect Fit, Fisher focuses on the role of fracturing, ruptures, and breakages in many traditional ties between art and poetry, as well as the resulting use of collage and assemblage by practitioners of those arts. Fisher addresses, among other subjects, destruction as a signifier in twentieth-century art; the poetic employment of bureaucratic vocabularies and "business speak"; and the roles of public performance and memory loss in the fashioning of human knowledge and art. Commonplace notions of coherence, logic, and truth are reimagined and deconstructed in this study, and Fisher concludes by suggesting that contemporary culture offers a particularly robust opportunity-and even necessity-to engage in the production of art as a pragmatic act. Scholars of art, poetry, and aesthetics will be engaged and challenged by this insightful work.