Since 1939, the Unterberg Poetry Center has given discerning audiences a chance to hear the finest writers in every literary genre, and its unrivaled dedication to the writer’s voice in all of its aspects has made it America’s foremost literary forum.
Janet Kuypers reads Edee Lemoniers’ “Salvation” from cc&d magazine (v253, the Jan./Feb. 2015issue/book, titled “the Curve of Arctic Air”) at Chicago’s “the Cafe Gallery” 2/18/15
Janet Kuypers reads Jane Stuart’s “Jazzy Morning” from cc&d magazine (v253, the Jan./Feb. 2015issue/book, titled “the Curve of Arctic Air”) at Chicago’s “the Cafe Gallery” 2/18/15
Janet Kuypers reads Kenneth DiMaggio’s poem “Reflection #1 from A (perhaps) Heretical Lectio Divina Meditation” from cc&d magazine (v253, the Jan./Feb. 2015issue/book, titled “the Curve of Arctic Air”) at Chicago’s “the Cafe Gallery” 2/18/15
Janet Kuypers reads Marianne Szlyk’s “of Music and Metaphor in Somerville, MA” poem from cc&d magazine (v253, the Jan./Feb. 2015issue/book, titled “the Curve of Arctic Air”) at Chicago’s “the Cafe Gallery” 2/18/15
Janet Kuypers reads Ronald Charles Epstein’s “Miley Cyrus is Coming” poem from cc&d magazine (v253, the Jan./Feb. 2015issue/book, titled “the Curve of Arctic Air”) at Chicago’s “the Cafe Gallery” 2/18/15
Janet Kuypers reads Sheryl L Nelms’ “The Ultimate Uncool” poem from cc&d magazine (v253, the Jan./Feb. 2015issue/book, titled “the Curve of Arctic Air”) at Chicago’s “the Cafe Gallery” 2/18/15
Janet Kuypers reads poetry from assorted other poets that appears in the current issue of cc&d magazine (v253, the Jan./Feb. 2015issue/book, titled “the Curve of Arctic Air”) at Chicago’s “the Cafe Gallery” 2/18/15
People, pictures, patterns stacked
in this traffic jam of time –
The tyranny history –
marionettes in painted fields
Time is mind, a landscape
money buys, sells as properties
properties mind can never know.
An oracle of echoes
Here, now in time’s traffic jam
where all landscapes blend
fold into the silences of spaces
unleashed in fatality.
Robin Ouzman Hislop was an Editor at the 12 year running on line monthly poetry journal Poetry Life & Times, now at Artvilla.com, as its Editor. He has made many appearances over the last years in the quarterly journals Canadian Zen Haiku, including In the Spotlight Winter 2010 & Sonnetto Poesia. Previously published in international magazines, his recent publications include Voices without Borders Volume 1 (USA), Cold Mountain Review, Appalachian University N Carolina,The Poetic Bond Series, available at The Poetic Bond and Phoenix Rising from the Ashes an Anthology of Sonnets. He has recently completed a volume of poetry, All the Babble of the Souk , publication now available. He is currently resident in Spain engaged in poetry translation projects.
from the “Periodic Table of Poetry” series (#105, Sg)
7/28/14 (started 7/27/14)
I’ve always loved the sea.
When standing at these Pacific shores
I’m always intoxicated by the action there,
at the vibrancy, the sense of life.
I’ve always been drawn to the idea of learning,
to California’s desire to explore and discover.
There was a scientist, Glenn Seaborg,
who later worked through U of C Berkeley.
And when it comes to discovery in California,
Seaborg really had a hold on the chemistry market.
Because during his career, he did theoretical work
in the development of the Actinide series
in the Periodic Table, and he even helped discover
ten elements (many in that Actinide series).
But one element that wasn’t in the Actinides series
that he helped discover, element one oh six,
that was the element people petitioned
to be named after him (you know, because
of all he had discovered for the Periodic Table).
But scientists in Dubna Russia were also wanting
to claim the naming rights for element one oh six,
and naming this element after Seaborg
caused quite a stir, because elements
are only named after dead people, they said.
But the Americans actually pulled it off
and got the new element named Seaborgium.
Transuranium elements like Seaborgium
are only artificially made with particle accelerators,
and I know those scientists,
after finding elements that way
only acquire one or two atoms,
and they can only guess the element’s properties
by their location on the Periodic Table…
I mean, Seaborgium’s isotopes
have half lives only seconds long,
and there’s no use we know of for Seaborgium
other than scientific research
(like for scientists like Seaborg or Albert Ghiorso,
or the leader of that Seaborgium discovery team).
But after the element was named Seaborgium,
and since Seaborgium is the only element
named after a living person,
it may have been possible
to send Glenn Seaborg a letter
addressed in chemical elements:
send it to Seaborgium,
in lawrencium (for his Lawrence Berkeley Lab),
in the city berkelium,
in the state californium,
(if the letter’s being mailed
from outside the U.S.)
in the country americium…
I don’t know if any letters like this
actually got through to him,
but for a man with that many
discoveries under his belt,
sending letters to him
using only Periodic Table elements
almost seems like icing on the cake.
Paul Celan (/ˈsɛlæn/; 23 November 1920 – c. 20 April 1970) was a German language poet and translator. He was born as Paul Antschel to a Jewish family in Cernăuți (German: Czernowitz), in the then Kingdom of Romania, (now Chernivtsy, Ukraine), and adopted the pseudonym “Paul Celan”. (Celan in Romanian is pronounced Chelàn, and was derived from the syllables of his surname). He became one of the major German-language poets of the post-World War II era.
Celan remained imprisoned in a work-camp until February 1944, when the Red Army’s advance forced the Romanians to abandon the camps, whereupon he returned to Cernăuţi shortly before the Soviets returned. There, he worked briefly as a nurse in the mental hospital. Friends from this period recall Celan expressing immense guilt over his separation from his parents, whom he had tried to convince to go into hiding prior to the deportations, shortly before their death.
A version of Celan’s poem Todesfuge appeared as “Tangoul Morţii” (“Death Tango”) in a Romanian translation of May 1947. Additional remarks were published explaining that the dancing and musical performances evoked in the poem were images of realities of the extermination camp life.
Celan became a French citizen in 1955 and lived in Paris. Celan’s sense of persecution increased after the widow of a friend, the French-German poet Yvan Goll, unjustly accused him of having plagiarised her husband’s work. Celan was awarded the Bremen Literature Prize in 1958 and the Georg Büchner Prize in 1960
Celan committed suicide by drowning in the Seine river in Paris, around April 20, 1970.
The death of his parents and the experience of the Shoah (The Holocaust) are defining forces in Celan’s poetry and his use of language. In his Bremen Prize speech, Celan said of language after Auschwitz that:
Only one thing remained reachable, close and secure amid all losses: language. Yes, language. In spite of everything, it remained secure against loss. But it had to go through its own lack of answers, through terrifying silence, through the thousand darknesses of murderous speech. It went through. It gave me no words for what was happening, but went through it. Went through and could resurface, ‘enriched’ by it all.
An Animated English Translation of Paul Celan’s famous work Todesfuge
Here it is read in the original German by its author Paul Celan
A further English translation where Todesfuge (Death Fuge) is entitled Black Milk
*Editors note: The actual Reading of Paul Celan’s works in original text German together with their English translations starts appx 28 minutes after a lengthy introduction