Tea With Tosh: Jack Hirschman

 

Tea With Tosh: Jack Hirschman

Tosh Berman on "I Made An Accident" by Kevin Sampsell

 

Tosh on "I Made an Accident" by Kevin Sampsell

Tosh Berman on John Ashbery's "Something Close To Music" (David Zwirner Books, 2022)

 

Tosh Berman on John Ashbery's "Something Close to Music

Tom Verlaine by Tosh Berman

 

Tom Verlaine by Tosh Berman: read it here.

Antonin Artaud by Tosh Berman

 

Read Antonin Artaud by Tosh Berman

John Ashbery & Marcel Duchamp (& Me) by Tosh Berman

 

"John Ashbery & Marcel Duchamp (& Me) by Tosh Berman. Read it here: 

John Ashbery & Marcel Duchamp (& Me)

Beyond Baroque and Beyond: Part 2: Jack Skelley, David Trinidad, & Tosh Berman

 

CONVERSATIONS Part of the series Beyond Baroque and Beyond

Jack Skelley, David Trinidad & Tosh Berman

TUE JUN 29, 2021 7 PM PDT

Poets Jack Skelley and David Trinidad gather to chit-chat about chapbooks, popular culture and its iconographies, self-publishing, Stone Aged-ideas, and, to lend from Skelley's own tongue, poetry’s “archetypal symbologies.”

More info and RSVP online: Here: RSVP for Jack Skelley, David Trinidad, & Tosh Berman

Signed Copies of "The Plum in Mr. Blum's Pudding" by Tosh Berman

 

Artbook at Hauser & Wirth Los Angeles now have signed copies of my book of poetry "The Plum in Mr. Blum's Pudding." It has been selling there consistently and I want to thank the staff at the store for presenting this book in a magnificent manner. If you want a signed copy, go there, or they can ship it to you as well. Their phone number is (213) 988-7413.  

Their website is Artbook at Hauser & Wirth Los Angeles

Tosh Berman Interviews Dennis Cooper, Amy Gerstler, and Benjamin Weissman for the Hammer Museum's MADE IN L.A. 2020

 Tosh Berman interviews Dennis Cooper, Amy Gerstler, and Benjamin Weissman regarding their work and times with Beyond Baroque Literary Arts Center.  It's unusual to have three of the people on the same platform discussing their times as the curator or literary 'gods!   This discussion is due to Sabrina Tarasoff's Beyond Baroque exhibiton at The Huntington, in conjunction with the Hammer Museum's Made in L.A. 2020. 

One can watch and hear the interview here:  

Tosh interviews Dennis, Amy, and Benjamin

Hammer Museum's Beyond Baroque & Beyond with Tosh Berman, Amy Gerstler, Dennis Cooper, and Benjamin Weissman

 

Dennis Cooper, Benjamin Weisman, Amy Gerstler & Tosh Berman

TUE JUN 22, 2021 7 PM PDT

An online tête-à-tête between Tosh Berman and poet-auteurs Dennis Cooper, Benjamin Weissman, and Amy Gerstler about their so-called poet-gang, the special friendships formed by the L.A. literati in the early 1980s, being influenced by the French (i.e. literary hauntedness), and the specific problems and pleasantries of poetic programming.

In this three-part online interview series, Tosh Berman writer, poet, Los Angeles publisher of the post-war French literati, and beloved host of the 1980s Tea With Tosh, returns to the screen to confabulate with figures from the Beyond Baroque Literary Arts Center's haunted hallways.  Summoned to Berman's virtual sofa are a host of poetic voices, each of whom have been central to the center's programs at a point between 1980 and 1986.  Not merely interviews, Beyond Baroque is equal parts séance, chat show, reunion, literary production, past life regression, tea time, no nostalgia. 

To RSVP and other info here: RSVP & more info here!

"Index of Women" by Amy Gerstler (Penguin Poets) 2021

 

ISBN: 9780143136217

Amy Gerstler is the perfect cocktail of literary essence. Her poetry is like the most delicious plate of ice cream, but it never leaves you with a stomach ache or regret for overeating. It's a perfectly placed series of images, language that plays with each other, as well as a narration (in the prose) poetry that is genuinely moving. "Letters From a Lost Doll" is based on correspondence by Kafka to a little girl who lost her doll. Kafka told the little girl that the doll is not lost but just traveling. So, he sent letters to her as if the doll was dropping communication throughout her travels. Gerstler does the same in her version, and it's a remarkable presence of an object (doll) communicating with life. "Index of Women" has no weak points. Every poem fits into the picture, and it's a beautiful puzzle.

David Meltzer "Luna" (Black Sparrow Press) Cover by Wallace Berman (1970)

 

Tosh Berman & Devin Johnston reading at The Observable Reading Series in St. Louis

October 7, 2019
7:30 p.m.

Tosh Berman

Tosh Berman was born in the late fifties in Los Angeles, the son of Wallace and Shirley Berman, mainstays of that scene described by the California historian Richard Candida Smith as “Utopia and Dissent.”  Raised in Topanga Canyon, his early adult years were taken up in poetry — his eighties poems The Plum in Mr. Blum’s Pudding were re-printed in 2014 — and public access television production.  Ultimately he has been called upon to be executor of his father Wallace’s estate.  Tosh: Growing Up in Wallace Berman’s World is just out from City Lights.  The publisher of TamTam Books, Tosh Berman vlogs on YouTube and writes cultural journalism that’s published widely.

Devin Johnston

Devin Johnston was born in 1970 in Canton, New York, and grew up in Winston-Salem.  Educated at Oberlin and the University of Chicago, he teaches now at Saint Louis University.  He is the author of several collections of poetry, including Far-Fetched (2015), Sources (2008), a finalist for the National Book Critics Circle Award, Aversions (2004), and Telepathy (2001).  His prose writing includes the critical study Precipitations: Contemporary American Poetry as Occult Practice (2002) and Creaturely and Other Essays(2009).  A former poetry editor for the Chicago Review, Johnston co-founded and co-edits the literary publisher Flood Editions with Michael O’Leary.

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Dressel’s Public House
419 N Euclid Ave,
St. Louis, MO 63108

The Observable Readings Series, brought to you by St. Louis Poetry Center, welcomes poets to Dressel’s Public House (CWE) on first Mondays.  Reading begins at 7:30 p.m. in the upstairs loft of the restaurant.

Suggested $5.00 donation at the door.

Curated by: Jeff Hamilton & Joshua Kryah

Tosh's Journal: August 26

Tosh's Journal: August 26 - The making of "Plum in Mr. Blum's Pudding"

Scott Walker Sundog Selected Lyrics on Tosh Talks

Tosh Talks special!  I give a lecture (Tosh Style) on Scott Walker's music, image, and his new book of selected Lyrics: "Sundog."  (Faber & Faber).  I even do a bit of Scott, of course, in my own style. - Tosh Berman

Edith Sitwell - Face To Face 1959 Interview

"Stars Seen in Person: Selected Journals" by John Wieners (City Lights Books)

ISBN: 978-0-87286-668-3 City Lights Books

"Stars Seen in Person: Selected Journals" by John Wieners (City Lights Books)

A poet's journal is always interesting, because it's looking into the mind of the poet, and one can trace the thinking pattern in what makes their work or writing happen.   Or in some cases, not happen.   It's very strange to come upon this book, because my dad, Wallace Berman, is mentioned in its pages - both in the introduction as well as in John Wieners' journal.  At the time of writing "Blauuwildebeestefontein" journal, he was staying with us in Beverly Glen.   So like a phantom, my dad does make an appearance, but alas, in the mind of Wieners it becomes a figure of importance, but alas, a faint mist. 

The poetry / writing of John Wieners is very romantic.  When he writes about his surroundings, or instance either Boston or Manhattan, it reads extremely glamourous.  The city I often felt, were not made for citizens to live in, but for poets to comment on.  The urban landscape becomes something else in the hands of a poet.   John was (or is) a fantastic poet.  He had an incredible eye for detail - in the sense that he was a great sketch artist capturing an image, but he would do it with words.   The journals in this book (four of them) are sometimes a diary, in a very loose narrative, or straight ahead poetry.  Sometimes a combination of the two - a narration as poetry.   Nevertheless he captures angst in his words, and some of it is painful read, specifically about his one female lover (John was gay) and the child that didn't happen.   Reading the unhappiness, I almost wanted to skip this part of the journal, but alas, it is either the pain or just his enormous presence on the page keeps the reader going. 

In its simplicity, I love the last part of the journal where he just mentions a celebrity and where he saw that person.  For instance:  

"George Sanders

passing in Cadillac"

"Peter Lorre outside upper

Times Square Theatre" 

The name that captured my attention is this section is Dean Stockwell and Bobby Driscoll, whom were not only actors, but very close friends to my dad and I have to imagine John knew them as well.   It's interesting that he put them in the "Stars Seen in Person" category. 

A beautiful book, with nice editing from Michael Seth Stewart, and a personal preface by Ammiel Allcalay, who met Wieners as a teenager.  On a personal note, John Wieners was also my babysitter.    A poet/babysitter is a very seductive quality for a future writer/publisher. 

- Tosh Berman

"Mallarmé on Fashion" by Stéphane Mallarmé (Edited and translated by P.N. Burbank & A.M. Cain)

ISBN: 9781859737231 Berg

The only reason I would be reading a book about a French fashion magazine that existed in 1874, is if there is something odd about the magazine and its editor.   In two words: Stéphane Mallarmé.    Whatever mysterious reason, Mallarmé, who is without a doubt one of the great poets that came from France, had a job where he not only edited, but also wrote the entire magazine, using various alias.    He managed to produce eight copies of "La Dernière Mode."   "Mallarmé on Fashion" is a pretty interesting book on multi-levels.  One, is the thought of such an avant-garde poet of his time and place, working on a fashion magazine in such complete control, as well as a bit of fashion history, but also the importance of fashion in French culture.   Especially in the 19th century.

Mallarmé writes as a woman as well as a man in this magazine.   The magazine is very formalized in its format.     As "Madame de Ponty" she writes about contemporary fashion trends in Paris, and elsewhere.   As "Ix" (now that is a mysterious name) he's a stuffy theater and book critic, and mostly has a certain amount of anger about music taking over text on the Parisian stage, and then there a food section, where they have elaborated menus and recipes.   There is also a correspondence section, whereas the editor, he gives fashion advice, and also a travel section as well, recommending travel points and where to stay on vacation.   At the end of the issue, Mallarmé offerer what is best in Parisian entertainment for that month or season.   He covers everything from music hall entertainment, opera to city parks.   It is very much like Time Out or Los Angeles Weekly directory.

Stéphane Mallarmé

Mallarmé was known to be interested in the decorative arts, so it's not a huge surprise that he would write about interior design of rooms, but his intense knowledge of fashion is totally new to me.   In an odd way, Mallarmé is actually critiquing the fashion world, but even more so, the fashion magazine.   I think he sees it as a window to what is happening culture wise - so readers now, get a unique portrait of Paris 1874, through the eyes of Mallarmé, but him using various identities to convey that world.  Again, it is clearly not known why he did this. It could have been for a paycheck, but it is interesting that he did so, by not just writing one column, or as editor - but doing it all!   In many ways, it was an upscale zine of its time.  He wanted to do more than eight issues, but the publisher (not him) pulled the plug on the project.

La Dernière Mode, 1874 (Edited and written by Mallarmé

"Mallarmé on Fashion" is very much a scholarly text book, and is geared for the lit-crit lunatic, but it is also an essential book on anyone studying Parisian culture of the 19th century as well as what 'pop culture' was like in those days.  Editors and translators P.N. Burbank and A.M. Cain do a great job in presenting Mallarmé in the hard (not delicate) world of high and low fashion.   Fascinating book.

- Tosh Berman

Tosh Berman Interview with 3: AM Magazine

An interview I did on the 3:AM Magazine website.  Pretty extensive.  With my publisher Rebekah Weikel (Penny-ante editions) 

http://www.3ammagazine.com/3am/art-is-love-is-god/

November 21, 2014

November 21, 2014

“Life is a shipwreck, but we must not forget to sing in the lifeboats.” I “must not fear daylight just because it almost always illuminates a miserable world.” Mere hours before my appearance tonight at the Skylight Bookstore, I feel nervous and uneasy.  On the other hand, I must put that aside, and concentrate on what I’m going to do tonight.   The main focus tonight is my book of poems, and I’m presuming that I’m going to have to read some of the work from that book.  Events like this, are both a celebration, but it is also a stop in time, where one reflects on what they did - and on top of that, sharing those views with an audience in front of you.  To calm myself, I project what will happen later tonight.  The event is at 7:30 PM, but I imagine it will really start at 7:45 PM. I will see people I know and I haven’t seen for awhile.  What they don’t know is that I’m totally lost in my thoughts.   The sense of failure or being embarrassed in front of an audience is a deep and bottomless fear.  The imagination can draw up the worst images from the dregs from your worst nightmares.   Of course, there are those, who wish that I will fail tonight, so they can just use me as a subject matter for their dinner engagement.

On the other hand, perhaps I’m thinking too much.   Especially about myself.   What is the worst thing that can happen tonight?  Surely Skylight Books will exist no matter how well I do or not do tonight.  The audience who will see me is seeing a free event (unless they buy the book).  A lot of my friends will be there, and I imagine they want to see me succeed.   So it’s a win-win.  Unless I really mess up.   The problem is that I will be in front of an audience that will be listening to me in great detail.  Not only that, but more likely will be focusing on my clothing as well as my nervousness.   Some may even be turned-off by my arrogance, not knowing that I’m that way, due to my crippling shyness.  Often when someone reads from their work or from a book, the audience tends to drift off, thinking that what they will eat for dinner later that night, or maybe my appearance reminds them of an old boyfriend, and so forth.  I may lose half my audience through their daydreaming.  Therefore I speak to a full crowd, but maybe only 30% are paying attention to what I’m saying or reading.   So I should really concentrate on that 30% - or should I think about trying to get the 70% back to my work and reading?   Can I even do that?

Voltaire, a man who I greatly admire by the way, commented “the more I read, the more I acquire, the more certain I am that I know nothing.” The thing is, I want to hide this fact from my audience tonight. It is taking place in a bookstore, and not just any bookstore, but one of the best bookstores in Los Angeles.  So many smart people are here.  Surely they will be aware of the fact that something is up.  Clearly they will look behind the curtain, and notice that I’m a total fraud.   How can I hide this fact?  Or should I be totally honest with my audience.

Ruth Bernstein will be asking me questions.  I haven’t the foggiest idea what she will ask me.  I just have to presume that it will be about my book.  But then again, what happens if she asks me a personal question?  Should I give her an honest answer?  And the bigger question is: Am I honest?  Is honesty good? “I honestly can’t characterize my style in words.  It seems that whatever comes to me naturally, I write.” It seems “life obliges me to do something, so I write.” It is really out of my hands.  I think I’ll be OK tonight, and if I just think of The Hawk (Coleman Hawkins) playing “September Song” and just go with the flow.   At my age, I have always gone forward, and never look back.  The fear I have is being trapped in front of the car lights, and forcing myself to see my life passing me by like a bad montage in a b-Hollywood film.  I just have to remember “I don’t know where I am going, but I am on my way. ”