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The Camel’s Pedestal, Poems 2009–2017 by Anne Tardos Now Available!

There is a splendid lucidity to Tardos’s writing, a jesting, inquisitive spirit nimbly examining the relationship between language and reality in inventive articulations that jingle with wit and perceptivity. Lines like “I am lost in a desert of my own making” and “Do words work as wood works” juggle phenomenology, advancing what Tardos observes as “the true state of things expressed in phenomena but inexpressible in language.” Contradiction, paradox, incongruity; it’s all here, the entire caravan of linguistic apparatus crossing the dunes of this enigma, this desolation of self-awareness, this epistemology of dromedaries on the very edge of things. This collection is well-crafted, precise, imaginative, clear. I feel a great intelligence moving among these words. It’s exhilarating. This is the kind of work that inspires me.

—John Olson

Free-ranging, intelligent, a poetry of wit and survival—to be “crazy not to go crazy” and not going crazy and making art in the face of that: “finally taking a stand” . . . “there is no shortage of things to do on the path to a better life” and “letting things be,” “tip-toeing around the good and the terrible”—it's so good to be taken to the source so lightly, so often, without eliding the brutal, the complex, the incomprehensible or the gorgeous. This is the book that does that. Reader, read on . . .

—Maurice Scully

Anne Tardos, French-born American poet, is the author of ten books of poetry, and editor of three collections of poetry by Jackson Mac Low. Her work has been translated and published in dozens of anthologies and journals around the world. Tardos pioneered a unique multilingual writing style, often complementing her texts with video stills, photographs, and collages. Her writing is renowned for its fluid use of multiple languages and its innovative forms. She has worked in numerous media, creating performance pieces, radio plays, videos, and musical compositions. Her multilingual and multimedia works have been presented at the Museum of Modern Art, New York; the West German Radio, WDR; the XLIV Venice Biennale; and in many international sound poetry festivals, including Festival La Bâtie, Geneva; text-ljud Festival, Stockholm; Scene Wien, Vienna; and Zwischentoene, Cologne. Since moving to New York in 1966, she maintained lifelong friendships with artists Richard Lindner, Saul Steinberg, Sam Francis, Larry Rivers, Vito Acconci, Ay-O, John Cage, Judith Malina, Simone Forti, Nam June Paik, Charlotte Moorman, George Maciunas; art dealer Felix Landau, architects Vally and Serge Sabarsky; poets Jackson Mac Low (longtime partner and collaborator), Jerome Rothenberg, Lyn Hejinian, Anne Waldman, Robert Creeley, and other figures of the New York avant-garde.
A Fellow in Poetry from the New York Foundation for the Arts, Tardos lives in New York City with her husband, the composer Michael Byron.


Book Information:

· Paperback: 104 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-295-2

$16

 
 
 

The Camel’s Pedestal, Poems 2009–2017 by Anne Tardos Book Preview

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Nine by Anne Tardos Reviewed in Jacket2

 

Stu Watson: A Review of NINE by Anne Tardos

· Paperback: 148 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-226-6

 

Anne Tardos’s Nine is a sequence of nine-word lines grouped in nine-line stanzas. This metric which involves the counting of words rather than accents or syllables has a radically leveling quality. Suddenly “temporomandibular” and “I” are of the same metrical value, based on their simple, monadic quality as “words.” As employed through Tardos’s artistry, this form, sometimes referred to as “counted verse,” feels appropriate to our historical moment. It is as though these nine-by-nine grids are architectural blocks, constituent elements in a particular kind of linguistic structure. In its porous inflexibility the form mirrors the empirical reality of infrastructure, of the walls that separate our homes and the streets and subway tunnels that convey us through the world—the commonplace yet all-but-invisible concrete around which our lives are constructed. But it also parallels our desire for ratiocination and “numbers”—“more data”—on which to base our political or personal decisions. The meaning of these poems is often generated by the resistance, dissonance, and lateral freedom they demonstrate within such bounds.

This dissonance leads the poems to express a curious kind of self-referentiality aimed at their form. And so we see concluding lines that offer statements like: “The ninth line is often problematic, as we see.” “The ninth often gets to deliver a punchline.” “The ninth usually knows the way out of here.” Each line of each poem is end-stopped, which further delimits the language, yet Tardos at times follows up a line in such a way so as to hint at enjambment, as in “It’s So Quiet Somehow”:

 

It’s so quiet today—don’t know what to say.

The uncertainty of the uncertainty and then the uncertainty.

Is the road we take imagined or already given?

Are we inventing our lives as we live them?

Why do we ask questions no one can answer?

Have we finally found a groove, you and I?

A modus vivendi that’s livable for both of us?

Don’t you hate a poem that’s full of questions?

Shouldn’t I try to answer some of them somehow?

 

The way the second and third lines abut suggests a continuity, as though “uncertainty…Is the road we take…” but the poem resists this interpretation in its syntax, as the third line instead “resolves” into a question. The final seven interrogatory lines modulate between concrete images and abstract musings before concluding by turning on their own need for questioning—and raising the specter of an “answer” that, by virtue of its appearance in the terminal ninth line, cannot be offered. Just as an individual, when faced with some bureaucratic encumbrance will sometimes comply but do so unhappily, so these poems always reach their appointed end, but are not always “happy” in doing so, and they let us know this.

Read the whole review here

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Nine by Anne Tardos Now Available!

What glee in the Nine, this tour de force of genius trickster complexity, “all about equipping poetry.” And Anne Tardos does this accouterment-ing like a Buddhist deity with many arms and heads. “Rub together two neurons and you have a mind” and play with nines and you have a rich compendium of unsurpassed wild multi-lingual-mental invention and words stomping around as richly palpable (non gendered!) masters of the universe. I got so refreshed by the wit and tenderness I couldn’t stop.

—Anne Waldman


Anne Tardos, whose poetry & performances have enlightened us for several decades now, emerges in Nines as an innovator of new forms as a vehicle for work that incorporates, like all great poetry, the fullest range of thoughts & experiences & makes them stick in mind & memory. I am struck, as rarely happens, by this combination of form & content, each a powerful extension of the other.

—Jerome Rothenberg


Reading Anne Tardos's Nines feels like living in the middle of everything and anything that is, isn't, can't, can, ought to be, needs to be, happening in just this way, right now, in language, sometimes several languages, while accompanied by a dear and reliable friend (once in a while flailing around wildly, though in a controlled way - nine word lines, nine line poems, no matter how improbably) whose sensible voice soothes, jokes, seduces, pokes fun at itself, and now and then a line that astonishingly simply tells you the truth about your life, despite everything. A truly, literally, wonderful book. With an astute and illuminating introduction by Rachel Blau DuPlessis.

—Norman Fischer


Although in compact nine-word/nine-line containers, the poems in Nines are capacious. Formally inventive, philosophical, speech-like, sometimes syntactically tousled, they are as amusing as they are intensely serious. Autobiography, community, love, mortality, dark humor, and whimsy all make appearances in these meticulously timed gems. Genius9.

—Nada Gordon


Anne Tardos, American, is the author of nine books of poetry, and editor of three collections of poetry by Jackson Mac Low. Her work has been published in dozens of anthologies and journals around the world.

Tardos pioneered a unique multilingual writing style, often complementing her texts with video stills, photographs, and collages. Her writing is renowned for its fluid use of multiple languages and its innovative forms. She has worked in numerous media, creating performance pieces, radio plays, videos, and musical compositions.

Around 1980, she began performing her own works, and also creating new works with Mac Low. Her multilingual and multimedia works have been presented at the Museum of Modern Art, New York; the West German Radio, WDR; the XLIV Venice Biennale; and in many international sound poetry festivals, including Festival La Batie, Geneva; text-ljud Festival, Stockholm; Scene Wien, Vienna; and Zwischentoene, Cologne.

Since moving to New York in 1966, she maintained lifelong friendships with artists Richard Lindner, Saul Steinberg, Sam Francis, Larry Rivers, Vito Acconci, Ay-O, John Cage, Judith Malina, Simone Forti, Nam June Paik, Charlotte Moorman, George Maciunas; art dealer Felix Landau, architects Vally and Serge Sabarsky; poets Jackson Mac Low, Jerome Rothenberg, Lyn Hejinian, Anne Waldman, Robert Creeley, and other influential figures of the New York avant-garde.

A Fellow in Poetry from the New York Foundation for the Arts, Tardos lives in New York City with her husband, the composer Michael Byron.


Book Information:

· Paperback: 148 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-226-6

$16

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

NINE 1-126 by Anne Tardos Book Preview

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Photos on flickr