City Lights celebrated the release of Poems for the Millennium, Volume 5: Barbaric Vast & Wild: An Assemblage of Outside & Subterranean Poetry from Origins to Present, with an event featuring readings by editor Jerome Rothenberg, joined by guest readers Jack & Adelle Foley, Michael McClure, David Meltzer, & Julie Rogers.
Barbaric, Vast & Wild is a continuation and a possible culmination of the project that began with Jerome Rothenberg’s Technicians of the Sacred in 1968 and led to the first four volumes of Poems for the Millennium in the 1990s and 2000s. In this new and equally groundbreaking volume, Rothenberg and John Bloomberg-Rissman have assembled a wide-ranging gathering of poems and related language works, whose outside/outsider and subterranean/subversive positions challenge some of the boundaries to where poetry has been or may be practiced, as well as the form and substance of the poetry itself. It also extends the time frame of the preceding volumes in Poems for the Millennium, hoping to show that, in all places and times, what the dominant culture has taken as poetry has only been part of the story.
Divided into four “books” – Visions, Voices, Extensions, and Performances – Barbaric Vast & Wild brings together on a global and historical scale – from the paleolithic caves to the immediate present – works from the hieratic and sacred to the mundane and the radically transgressive and politically subversive. The range here is enormous: Egyptian pyramid texts, biblical prophecies, pre-Socratic poet-philosophers, Buddhist wanderers and “divine madmen,” along with poems and related language works from dialects and “nation languages,” thieves’ cants and other argots or vernaculars, working class and lumpen poetries, popular and newspaper poetry, sermons and rants, glossolalia and glossographia, slogans, graffiti, private writings (journals and diaries) or semi-private (correspondence, blogs, or social-networkings), and the “art of the insane” (Art Brut) that marked the early turning of avant-garde artists and poets to the idea of an “outside” poetry and art. The work as a whole may be taken as another step toward what the editors have called an “omnipoetics” and an “anthology of everything.”