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Issue #15: B-Side Modernism

In June of 2014, nonsite.org, with the support of the Andrew W. Mellon Foundation, sponsored four fellows to do research in the Raymond Danowski Poetry Library at Emory University. Danowski’s synoptic ambition—to collect literally all poetry in English published in the 20th century, including the independent journals, short-run chapbooks and broadsides that gave modernism its distinctive energy—has created an opportunity to examine the materials out of which our accounts of the century have been made, without the influence of a shaping hand.

The work of our B-Side Fellows, presented here, takes the shapelessness of “everything” as a provocation to investigate the divergences between canonical accounts of modernism in poetry; to explore the many roads not taken, whether they manifest in the unedited arc of a career, in the one-off achievement, or the unclassified ephemera of a moment. What else might modernism have been? And how do such reconsiderations of modernism bear on what happens on the flip side of the mid-century divide? Edited by Jennifer Ashton and Oren Izenberg.

Inside the issue

‘Endless Talk’: Beat Writers and the Interview Form

While we don’t tend to think of William Burroughs in terms of his engagement with the interview, in fact the form underpins much of his (and his collaborators’) work from the 1960s forwards, including the cut-up. Taking the Beat concept of self-interviewing to its extreme conclusion, Burroughs and frequent collaborator Gysin, turn the form’s interrogative function on the artist and the artwork. In doing so they highlight the interview’s potential to be a critically engaged, radical form.

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“Crowded Air”: Previous Modernisms in some 1964 New York Little Magazines

Like Ed Sanders’s antagonistically and aptly named Fuck You Press, whose publication list includes bootleg mimeograph printings of W.H. Auden and Ezra Pound, little magazines from 1964 serve as case studies for an avant-garde scene that grapples with the enshrinement of/resistance to previous avant-gardes…and an engagement with social antagonism….Ultimately, these scenes’ interest in social self-documentation is propelled by an attempt to get around the problem posed by the relegation of poems (of whatever aesthetic genealogy) to the cultural sphere.

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