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Recalculating, by Charles Bernstein
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Long anticipated, Recalculating is Charles Bernstein’s first full-length collection of new poems in seven years. As a result of this lengthy time under construction, the scope, scale, and stylistic variation of the poems far surpasses Bernstein’s previous work. Together, the poems of Recalculating take readers on a journey through the history and poetics of the decades since the end of the Cold War as seen through the lens of social and personal turbulence and tragedy.
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The collection’s title, the now–familiar GPS expression, suggests a change in direction due to a mistaken or unexpected turn. For Bernstein, formal invention is a necessary swerve in the midst of difficulty. As in all his work since the 1970s, he makes palpable the idea that radically new structures, appropriated forms, an aversion to received ideas and conventions, political engagement, and syntactic novelty will open the doors of perception to exuberance and resonance, from giddiness to pleasure to grief. But at the same time he cautions, with typical deflationary ardor, “The pen is tinier than the sword.” In these poems, Bernstein makes good on his claim that “the poetry is not in speaking to the dead but listening to the dead.”�In doing so, Recalculating incorporates translations and adaptations of Baudelaire, Cole Porter, Mandelstam, and Paul Celan, as well as several tributes to writers crucial to Bernstein’s work and a set of epigrammatic verse essays that combine poetics with wry observation, caustic satire, and aesthetic slapstick.
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Formally stunning and emotionally charged, Recalculating makes the familiar strange—and in a startling way, makes the strange familiar. Into these poems, brimming with sonic and rhythmic intensity, philosophical wit, and multiple personae, life events intrude, breaking down any easy distinction between artifice and the real. With works that range from elegy to comedy, conceptual to metrical, expressionist to ambient, uproarious to procedural, aphoristic to lyric, Bernstein has created a journey through the dark striated by bolts of imaginative invention and pure delight.�
- Sales Rank: #1374596 in eBooks
- Published on: 2013-03-13
- Released on: 2013-03-13
- Format: Kindle eBook
From Booklist
In 1978, Bernstein and fellow avant-gardist Bruce Andrews founded L=A=N=G=U=A=G=E magazine as a place to oppose the “confessional” voice and lyrical verse popular at the time. In dozens of books over the course of nearly 40 years, Bernstein has inspired and puzzled, annoyed and amused readers by rethinking what poetry is and what language can do. While difficult to define, we find a clue to Bernstein’s aesthetic in the epigraph to a new poem, which “adapts a line from Judith Malina’s 1967 translation of Brecht’s 1948 version of H�lderlin’s 1804 translation of Sophocles’s Antigone.” For Bernstein, historical works, interpretation, and adaptation all contribute to the cacophony of contemporary life. This collection contains a characteristically wide range of innovative verse, including formal stanzas with predictable end rhymes, columns of replicated phrases, essays in verse, axiomatic maxims, zen koans, and translations of Baudelaire, Apollinaire, and Catullus. Throughout, Bernstein usurps expectations and even anticipates, jokingly, how skeptical readers might receive his work: “I try to get them to see it as formal, structural, historical, collaborative, and ideological. What a downer!” --Diego B�ez
Review
“The English word ‘calculate’ has a double life: in standard English it means to ‘reckon’ or ‘intend’ and in dialect it means ‘to guess.’ These contrary, wayward, definitions—the first so full of certainty, the second so full of ironic doubt—shimmer and clash on every page of Charles Bernstein's obsessive, brilliant new book of poems,�Recalculating. Through responses, translations, adaptations, and occasional pieces, through little hymns and tragic litanies, Bernstein measures and dreams a circle: a community of readers and writers who spin within a world built from the living history of words.” (Susan Stewart)
“Recalculating gathers a substantial selection of (mostly) new poems—a few go as far back as the 80s and 90s—in a remarkably coherent and enlightening collection—though I’m certain Bernstein would abjure both of those adjectives. He has always rejected the idea of the poem as honed and polished object, and the poems in this book are as open as life itself. One thing that Recalculating makes clear is that, though Bernstein can deliver some ‘killer’ aphorisms, he is primarily a poet of abjection. He has always been drawn, as he puts it here, to the ‘painfully clumsy, clumpsy.’ Slapstick is bunkmates with failure and even heartbreak. This is especially evident in recent poems such as “Recalculating” and “Before You Go” which directly or indirectly reference the sudden death of the poet’s daughter. It is breathtaking—disturbing and admirable—that grief appears in these poems, as it does in life, alongside—well, alongside everything.” (Rae Armantrout)
“Charles Bernstein is writing in the simplest of forms—so simple they become radical. I love reading his work because he’s writing on the cusp of what poetry is.”
(Eileen Myles)
� “I was wrong, I apologize, I recant. Originality may be the only course when loss is the mother of invention. These are not my words but I mean them." (Kenneth Goldsmith)
“The ethos and critique are of poetry, which becomes a rich dark with a phosphorescence of lyric as witness.”
(Mei-mei Berssenbrugge)
“For Charles Bernstein, historical works, interpretation, and adaptation all contribute to the cacophony of contemporary life. This collection contains a characteristically wide range of innovative verse, including formal stanzas with predictable end rhymes, columns of replicated phrases, essays in verse, axiomatic maxims, zen koans, and translations of Baudelaire, Apollinaire, and Catullus. Throughout, Bernstein usurps expectations and even anticipates, jokingly, how skeptical readers might receive his work: ‘I try to get them to see it as formal, structural historical, collaborative, and ideological. What a downer!’”
(Booklist)
"All the defiance and revolution, all the polemics and pontifications, all the shouting and laughter, come from the same core source; Charles Bernstein's profound love of poetry. All the wrong turns, all the deviations, all the explorations, all the escapes, they all return to one fundamental idea; poetry is beautiful and poetry is important. And so is Recalculating."
(Bookslut)
"The range of invention in Recalculating is impressive: translations and adaptations (Baudelaire, Cole Porter, Mandelstam, Celan, Wordsworth,�Plath, and Nerval, just to name a few), aphoristic poem-essays (including the title poem), doggerel, list poems, joke-poems (“The Twelve Tribes of Doctor Lacan,” for example), elegies, hay(na)ku,�and more.�The collection has a richness which will not be exhausted by multiple readings.�It demands to be read over and over again—not for reasons of exegesis, but for pure pleasure.�"
(Galatea Resurrects)
“Recalculating is an immense book, hitting the extremes — of slapstick and tragedy, wisdom and buffoonery. The book’s accomplishment, ultimately, is its constant attempt to expand what it is in us that is affected by poetry."
(Forward)
“Charles Bernstein’s ars poetica is courageously resistant to the blandishments of what he calls ‘personification’ in its easy embrace of the unimaginable. This insistence makes all the more poignant and arresting, then, the abject misery of personal misfortune obliquely sheltered, honored, and given voice in Recalculating, a resounding collection by one of the true originals of the art.”
(Jed Rasula Provincetown Arts)
“Ignore those who “don’t read Charles Bernstein” because of tired and tedious attitudes about L=A=N=G=U=A=G=E poets. Bernstein’s Recalculating is one of the most fascinating books of the year. Recalculating shows a wider range of tones, modes, forms, and political engagement than the anti-L=A=N=G=U=A=G=E folks would have you believe. It uses slapstick, prose, fragment, aphorism, lyric invention, and artifice to do something fantastic.” (Rumpus)
“For all his earnestness of purpose, there has often been a Groucho as well as a Karl Marx element to Bernstein’s poetics, a belief that humor is as likely to open the doors of perception as polemic.” (Times Literary Supplement)
About the Author
Charles Bernstein lives in New York and is the Donald T. Regan Professor of English and Comparative Literature at the University of Pennsylvania, as well as coeditor of �L=A=N=G=U=A=G=E, the Electronic Poetry Center, and PennSound and cofounder of the SUNY-Buffalo Poetics Program. He is a fellow of the American Academy of Arts and Sciences. Among his many publications are three books also published by the University of Chicago Press: Girly Man, With Strings, and My Way: Speeches and Poems.
Most helpful customer reviews
7 of 7 people found the following review helpful.
'Recalculating' surprises at every turn
By andrew burke
I believe one of the many qualities of a poet is a desire to keep knocking down the fences, to keep expanding the definition of poetry by writing more imaginative forms and by refreshing the content of poetry since time immemorial. This is one of the key reasons I like Charles Bernstein as a poet. No, I don't like everything he writes, but I sure like the way he writes it. In 'Recalculating' he again unsettles any set ideas I have about what is a 'good' poem or what is a 'bad' poem, so much so that I no longer judge. Isn't that refreshing! There are wonderful rich reviews about this work all over the Net: my main delight in this collection is that again it wasn't what I was expecting. And yet that was exactly what I was hoping for. Frivolous forms with serious thought behind them; a cartoon page; thoughts on his daughter's passing ... These are the main ingredients, but I wouldn't separate this work (except its beautiful cover) from his previous work. It is an extension, a multi-streamed extension which will fall into place with all his other wor4ks to come when they too have settled.
If you have a philosophical mind that likes to play as well as sing, maybe scat singing more than rap, then read Bernstein and 'recalculate' your poetic canon.
0 of 0 people found the following review helpful.
Arresting Series of Meditations on the Purpose of Poetry
By Dr. Laurence Raw
As can be seen from the two reviews already published, RECALCULATING is destined to divide all readers. Some might find his work obscure or incomprehensible; others will admire the way in which he finds ingenious ways of combining words as much for their sound as their sense. What I find most fascinating about the collection is the way in which it combines a series of opinions on the purpose of poetry with practical examples of those opinions at work: Bernstein emphasizes on several occasions the collaborative nature of poetry, which depends as much on readers' responses as the writer's creativity. Readers should be prepared to revise their opinions, formulate ideas, or recalculate their imaginative faculties: many of Bernstein's poems encourage us to make those series of imaginative and cognitive leaps. It's perhaps not so important to discover the 'meaning' of the poems - to do so means treating them as an artistic form of Morse Code - but rather to respond to them as imaginative strictures, appealing as much to the emotions as to one's reason. Bernstein is a master of linguistic experiment, as he explores the sonic possibilities of words through rhyme, or creating new word-forms. The English language offers infinite possibilities for him to accomplish this process. As a manifesto for redefining the purpose of poetry, RECALCULATING perhaps cannot be bettered; it encourages us to open our souls, far more so than our minds, and look at poetry as an experience, rather than a series of words on a page, to be appreciated by all of our imaginative faculties. Anyone interested in creative writing, its possibilities as well as its political and social significance, should be well advised to read this work.
0 of 0 people found the following review helpful.
A Modest Adoration
By Dale M. Houstman
As a poet myself, when I first encountered the so-called " Language poets" I was skeptical of both their intent and their staying power, especially as I arose from the Surrealist "tradition" and this movement appeared to be Post-modern, (is - in fact - post-modern) enthralled with a mere surface effect and seemingly celebrating meaningless as a final philosophical solution. Yet here I am decades later, still searching out and reading such poets as Charles Bernstein and Susan Howe, who have revealed themselves to be both solid experimenters of the page's surface, and purveyors of a meaning always just a bit beyond easy paraphrase, often amusing, and/or dabbling in evocation. Too of the "contemporary poetryscape" is what is called slam poetry, an insidiously lazy dethroning of "language play" as the monarch of poetry, and its usurpation by common and often (to these eyes) unremarkable journals that border too often on angry emotional and social cliches to satisfy all those who attend to the word, to trances of nuance, and of - yes - beauty itself. As silly as that always sounds. Bernstein is perhaps - along with Susan Howe - the greatest voice to come out of the movement, although there are plenty of others who could (if they were into slam-like competitions) vie for the honor. This is a nice collection of Bernstein's work, although he seldom - in my opinion - disappoints. But Bernstein - like most writers and artists in general - is not for everyone, and my appreciation of his output doesn't quite rise to the level of an "essential critical voice." I like him.
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