Ether Sea Projects

About the Book

ScalapinoWar and Peace 3: The Future

Judith Goldman & Leslie Scalapino, Editors

2007 • 168 pp. • $14.00
ISBN: 9781882022656

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Borrowing Tolstoy’s title and basing our manifestation of War and Peace on the conception that everything goes on in war and peace, the editors, Judith Goldman and Leslie Scalapino, have gathered forty poets on the theme of “The Future.” The future arises with (at the same time as) history and the present.

“It is taking centuries to understand why our future will be perfect… There is still time. We can still be useful to each other.”
—Lynn Xu

Rob Halpern is seeing/making a relation of “the inner life” (discovering what that is) to occurrence. Past, present, and future: “the migrating cranes—whose lines of flight misalign what will have been with what’ll be no more… you can draw a cartoon head around the other’s unknown life and still not recognize the place where you live because home bears no resemblance to the bodies feeding you, no relation to the ones who work in the dark (cold fields, the vaults and cells)…”

About the Editors

Leslie ScalapinoLeslie Scalapino (1944 – 2010) is the author of thirty books of poetry, prose inter-genre-fiction, plays, and essays. Granary Book just published a collaborative book by artist Kiki Smith and Leslie Scalapino, titled The Animal is in the World like Water in Water. Scalapino’s It’s go in horizontal/Selected Poems, 1974-2006 was published by University of California Press at Berkeley in 2008. Other books of Scalapino’s poetry include Day Ocean State of Stars’ Night (Green Integer), a collection of eight years; Zither & Autobiography (Wesleyan University Press), The Tango (Granary Press), Orchid Jetsam (Tuumba), Dahlia’s Iris—Secret Autobiography and Fiction (FC2 Publishers); a reprint of the prose work Defoe (Green Integer); and It’s Go In Quiet Illumined Grass Land (The Post-Apollo Press).

More from Leslie Scalapino:
Considering how exaggerated music is (North Point Press)
Crowd and not evening or light
Defoe (Sun & Moon Press)
Enough
The Front Matter, Dead Souls (Wesleyan University Press)
How Phenomena Appear to Unfold
How Phenomena Appear to Unfold (Litmus Press)
New Time (Wesleyan University Press)
Objects in the Terrifying Tense / Longing from Taking Place (Poets and Poets Press Publications)
O One: An Anthology
O Two: An Anthology
The Public World/Syntactically Impermanence (Wesleyan University Press)
R-hu (Atelos Press)
That They Were at the Beach (North Point Press)
War and Peace
War and Peace 2: Poetry & Essays
War and Peace 3: The Future
Way (North Point Press)


Judith Goldman is the author of VOCODER (Roof Books, 2001), DEATHSTAR/ RICO-CHET (O Books, 2006), “the dispossessions” (atticus/finch, 2009), and L.B.; OR, CATENARIES (Krupskaya, 2011). She co-edited the annual journal WAR AND PEACE with Leslie Scalapino from 2005-2009 and currently edits a feature on contemporary innovative poetry for the e-journal Postmodern Culture. She is a Harper Schmidt Fellow and Collegiate Assistant Professor at the University of Chicago, teaching in the arts humanities core and in creative writing. In fall 2011 she was the Holloway Lecturer in the Practice of Poetry at University of California, Berkeley. She teaches in the English Department at the University of Buffalo.

Edited by Judith Goldman:
DeathStar Rico-chet
War and Peace 2: Poetry & Essays

Contributors

Poets
Bruce Andrews
Laynie Browne
Lyn Hejinian
Jen Hofer
Anselm Hollo
Fanny Howe
Lisa Jarnot
Paolo Javier
Rodrigo Toscano
Anne Waldman

and many more

Excerpt

The lines of each of Michael McClure’s poems from “Swirling Asphalt” are the action of being the same present (as all times at once) the instant of (most fragile) love:

A FOREST OF HORSES

is where I am
IN
YOUR
EYES
and you have
handed
me your love

 

In Susan Landers’ translucent Dante the past and the future are at the instant of our present occurrence:

Squirrelly Cerberus spots us. Teeth poised in his mouths.

My leader lobs fist-fulls of muck down his throat to appease him.
And so we pass, trampling the fallen beaten down by rain.
Though empty, their bodies feel full and give under out stomp weight.
One rises at the sight of us and calls me, “Young one,

who stood before I fell, tell me my name.”
But I cannot. All hells obscure the past.
Disgust refashions history to suit its own purposes.
“But I was your neighbor in your city of sun and trouble.”

And I sense in him the vision that chaos affords so I ask him
to tell me the future of my city of my state of conflict
and this is what he tells me: “The perceived wrath of perceived
gods overwhelms the few capable of blinding crowds.”