A NEW RETROSPECTIVE OF ONE OF AMERICA’S MOST INNOVATIVE POETS
All the Whiskey in Heaven brings together Charles Bernstein’s best work from the past thirty years, an astonishing assortment of different types of poems. Yet despite the distinctive differences from poem to poem, Bernstein’s characteristic explorations of how language both limits and liberates thought are present throughout. Modulating the comic and the dark structural invention with buoyant soundplay, these challenging works give way to poems of lyric excess and striking emotional range. This is poetry for poetry’s sake, as formally radical as it is socially engaged, providing equal measures of aesthetic pleasure, hilarity, and philosophical reflection. Long considered one of America’s most inventive and influential contemporary poets, Bernstein reveals himself to be both trickster and charmer.
With All the Whiskey in Heaven…Bernstein takes his place in the mainstream of American poetry, the very "Official Verse Culture" he's attacked entertainingly for yearsa fate awaiting all our best outsiders. Bernstein is identified with the Language poets, who emerged in the 1970s. Interested in the materiality of language, they are politically left, theoretically grounded and deeply suspicious of the lyric "I" that speaks from the heart in traditional poems without examining its own existence in a sociopolitical power structure. Their work is often most subversive when both joining and satirizing that weary old, dreary old genre, poetry about poetry. Early Bernstein can be opaque, annoying those who see difficulty as elitist and who want poetry to be cuddly and educational. But everyone should love the later Bernstein, a writer who is accessible, enormously witty, often joyfuland even more evilly subversive.