'In 1985, when the bulky anthology Technicians of the Sacred: A Range of Poetries from Africa, America, Asia, Europe and Oceania (first published in 1968) was printed in a new edition, it was advertised with the curious dust jacket recommendation: ‘hailed by the Los Angeles Times Book Review as one of the hundred most recommended American books of the last thirty-five years’. The volume’s inclusion on this list is remarkable, for, as an anthology of world poetry, it is not in any simple or traditional sense an ‘American book.’ Its opening sequence, titled ‘Origins and Namings,’ includes selections drawn from Central Australian Arrernte song cycles, passages of the Chinese I Ching and text from a shrine to Tutankhamun, all carefully organised to mirror the narrative and themes of the Biblical genesis myth (5-45). But for the Los Angeles Times Book Review, the anthology’s status as an ‘American book’ rests on the credentials of collection’s poet-editor, Jerome Rothenberg, who not only selected and arranged these foreign texts, but appended each with his own copious annotations and explanatory notes. Indeed, as Rothenberg contends in a Foreword to the collection, it is from his position as an anthologist that he rescues various religious or anthropological works, claiming them for genre of poetry. His insight, as one reviewer puts it, was twofold: that ‘poetry could be drawn from ritualistic experiences, chants, incantations, and shamanic visions that originated in Africa, Asia, Oceania, or within Native American groups’ and that ‘cutting-edge (American) avant-garde poetic advances (find) unexpected resonances in these ancient texts’ (Marmer). John Vernon concurs, describing Rothenberg’s anthology as having ‘all the earmarks (…) of a search for land, that is, a search for America, for an American tradition’ (825). For Rothenberg, contemporary American poetry must act as a creative archaeology of geography and origins: U.S. poets, he suggested, were not only reckoning with their present or future, but also re-staging their relation to the history of world poetry.' (Introduction)
'In 1985, when the bulky anthology Technicians of the Sacred: A Range of Poetries from Africa, America, Asia, Europe and Oceania (first published in 1968) was printed in a new edition, it was advertised with the curious dust jacket recommendation: ‘hailed by the Los Angeles Times Book Review as one of the hundred most recommended American books of the last thirty-five years’. The volume’s inclusion on this list is remarkable, for, as an anthology of world poetry, it is not in any simple or traditional sense an ‘American book.’ Its opening sequence, titled ‘Origins and Namings,’ includes selections drawn from Central Australian Arrernte song cycles, passages of the Chinese I Ching and text from a shrine to Tutankhamun, all carefully organised to mirror the narrative and themes of the Biblical genesis myth (5-45). But for the Los Angeles Times Book Review, the anthology’s status as an ‘American book’ rests on the credentials of collection’s poet-editor, Jerome Rothenberg, who not only selected and arranged these foreign texts, but appended each with his own copious annotations and explanatory notes. Indeed, as Rothenberg contends in a Foreword to the collection, it is from his position as an anthologist that he rescues various religious or anthropological works, claiming them for genre of poetry. His insight, as one reviewer puts it, was twofold: that ‘poetry could be drawn from ritualistic experiences, chants, incantations, and shamanic visions that originated in Africa, Asia, Oceania, or within Native American groups’ and that ‘cutting-edge (American) avant-garde poetic advances (find) unexpected resonances in these ancient texts’ (Marmer). John Vernon concurs, describing Rothenberg’s anthology as having ‘all the earmarks (…) of a search for land, that is, a search for America, for an American tradition’ (825). For Rothenberg, contemporary American poetry must act as a creative archaeology of geography and origins: U.S. poets, he suggested, were not only reckoning with their present or future, but also re-staging their relation to the history of world poetry.' (Introduction)
