Recent Entries:

  • December 10th, 2014

    Now living in Turin, the architect Matteo Pericoli often teaches a university course called “Laboratory of Literary Architecture” for both creative writing and design students. On the course’s web page, he writes, “How many times have we paused while reading a book and had the feeling that we were inside a structure built, knowingly or unknowingly, by the writer?

  • December 4th, 2014

    Of the French poets who launched the influential culture and arts magazine L’Éphémère in 1966, Yves Bonnefoy and Paul Celan are the ones most familiar to Anglophone readers. Limited selections of the poetry of their colleague, André du Bouchet, translated by Paul Auster and David Mus, were published respectively in 1976 and 2000.

  • November 10th, 2014

    Welcome to The Seawall’s semi-annual poetry feature. This season, thirteen poets write briefly on some of their favorite new and recent titles. This multi-poet/title feature is posted here in April and November. The commentary includes:

    Mark Bibbins

    on Slant Six by Erin Belieu (Copper Canyon Press)

  • November 3rd, 2014

    Hypnos by René Char, translated by Mark Hutchinson (Seagull Books/University of Chicago Press)
    American Pulp: How Paperbacks Brought Modernism to Main Street by Paula Rabinowitz (Princeton University Press)
    Air Raid by Alexander Kluge, with an afterword by W.E. Sebald (Seagull Books/University of Chicago Press)

  • October 28th, 2014

    The essential facts of Edward Limonov’s life are spelled out on the cover of Emmanuel Carrère’s book: He is born Edward Savenko in Dzerzhinsk, Ukraine in 1943 just as twenty million Russians die at the hands of the Germans. Stalin is the savior of those who survive. His father is a low-level NKVD official.

  • October 21st, 2014

    “Is a statement really necessary?” So begins Henri Michaux’s introduction to a 1963 exhibition catalog of his drawings and gouaches. “Isn’t it obvious that I paint so as to leave words behind, to put an end to the irritating question of how and why? Could it really be that I draw because I see so clearly this thing or that thing?