Charles Bernstein
Charles Bernstein, New Zealand, 1986
Born	(1950-04-04) April 4, 1950 (age 74) New York City, US
Education	Bronx High School of Science (1968)
Alma mater	Harvard College (AB, 1972)
Occupations	Poet essayist editor professor
Employer	University of Pennsylvania
Notable work	Republics of Reality: 1975–1995, All the Whiskey in Heaven: Selected Poems, Pitch of Poetry, Attack of the Difficult Poems, Recalculating, Near/Miss, Content's Dream, Topsy Turvy
Style	L=A=N=G=U=A=G=E
Spouse	Susan Bee
Children	Emma Bee Bernstein, Felix Bernstein
Awards	Bollingen Prize, Mûnster Prize, Janus Panonius Prize, Roy Harvey Pearce/Archive for New Poetry Prize, Guggenheim, NEA[1]

Charles Bernstein (born April 4, 1950) is an American poet, essayist, editor, and literary scholar. Bernstein is the Donald T. Regan Professor, Emeritus, Department of English at the University of Pennsylvania.^[2] He is one of the most prominent members of the L=A=N=G=U=A=G=E^[3] or Language poets. In 2006 he was elected a Fellow of the American Academy of Arts and Sciences.^[4] and in 2019 he was awarded the Bollingen Prize from Yale University, the premiere American prize for lifetime achievement, given on the occasion of the publication of Near/Miss. Bernstein was David Gray Professor of Poetry and Poetics at SUNY-Buffalo from 1990 to 2003, where he co-founded the Poetics Program. A volume of Bernstein's selected poetry from the past thirty years, All the Whiskey in Heaven, was published in 2010 by Farrar, Straus, and Giroux. The Salt Companion to Charles Bernstein was published in 2012 by Salt Publishing and Charles Bernstein: The Poetry of Idiomatic Insistences, edited by Paul Bovê was published by Duke University Press and boundary 2 in 2021.

Early life and work

Bernstein was born in Manhattan to a Jewish family and attended the Bronx High School of Science, graduating in 1968. His mother was Sherry Bernstein (born Shirley Jacqueline Kegel, February 2, 1921, to October 27, 2018) and his father was Herman Bernstein (1901–1977). Charles then matriculated at Harvard College, where he majored in philosophy and studied the work of J.L. Austin and Ludwig Wittgenstein^[5] under Stanley Cavell, a seminal figure in ordinary language philosophy, as well as Rogers Albritton.^[6] Cavell would oversee Bernstein's thesis, a study that pursued the aesthetic and poetic possibilities of the amalgamation of analytical philosophy and avant-garde literature, focussing on Gertrude Stein and Wittgenstein. After graduating from Harvard in 1972, his first book, Asylums, was published in 1975. Together with Bruce Andrews he edited the magazine L=A=N=G=U=A=G=E, which ran to 13 issues (3 volumes) between 1978 and 1981 (plus 3 supplements and a fourth volume in 1981.^[7] This is routinely considered to be the starting point of Language Poetry and was the most significant outlet for both the progressive poetry and progressive poetic theory taking place in New York City and Berkeley. He has said about the creation of L=A=N=G=U=A=G=E, "We tried to trace a history of radical poetics, taking up the model presented in Jerome Rothenberg's Revolution of the Word, and later by Rothenberg and Pierre Joris in Poems for the Millennium and Marjorie Perloff in The Futurist Moment. When you go back 30 years, you see that poetics that now are widely accepted as foundational for contemporary poetry were harshly rejected then."^[8] Bernstein and Andrews published selected pieces from these 13 issues in The L=A=N=G=U=A=G=E Book. In 2019 and 2020, the University of New Mexico Press, under editors Matthew Hofer and Michael Golston, published three related books: The Language Letters: Selected 1970s Correspondence of Bruce Andrews, Ron Silliman, and Charles Bernstein; a new edition of Legend by Andrews, Bernstein, Ray DiPalma, Steve McCaffery, and Ron Silliman; and L=A=N=G=U=A=G=E: Facsimile Edition.^[9]

During this period, Bernstein also published three more books of his own poetry, Parsing (1976), Shade (1978) and Poetic Justice (1979), earning a living working for the Cultural Council Foundation's CETA Artist Project and as a freelance medical writer.^[10] He also co-founded the Ear Inn reading series with Ted Greenwald in 1978.

Later life and work

From 1989 to 2003, Bernstein was David Gray Professor of Poetry and Letters at the University at Buffalo, where he was a SUNY Distinguished Professor and co-founder and Director of the Poetics Program.^[11] He is also, with Loss Pequeño Glazier, co-founder of The Electronic Poetry Center at Buffalo. From 2003 to 2019, he was Donald T. Regan Professor of English and Comparative Literature at the University of Pennsylvania, where he co-founded the poetry audio archive PennSound.^[12] He has been the recipient of fellowships from the Guggenheim Foundation, the New York Foundation for the Arts, and the National Endowment for the Arts, and of the Roy Harvey Pearce/Archive for New Poetry Prize of the University of California, San Diego. With his translators, Bernstein won the 2015 Münster Prize for International Poetry for two German translations.^[13] In the same year, he won the Janus Pannonius Grand Prize for Poetry.^[14] In 2019, Bernstein was the recipient of the Bollingen Prize for American poetry, for lifetime achievement and for Near/Miss.^[15] Bernstein was elected a Fellow of the American Academy of Arts and Sciences in 2006.^[16]

Since 1980, he has published a further eighteen books of poetry, as well as editing a number of anthologies of prose and verse, including The Politics of Poetic Form, Close Listening: Poetry and the Performed Word, S/N: NewWorldPoetics, with Eduard Espina, and Best American Experimental Writing, with Tracie Morris. Working with the composers Ben Yarmolinsky, Dean Drummond, and Brian Ferneyhough, he has written the libretti for five operas and has collaborated with a number of visual artists, including his wife, Susan Bee, Richard Tuttle, Amy Sillman, and Mimi Gross. In 1984, he organized"New York Talk" and in 1985–86, "St Marks Talks," the first lecture series at the Poetry Project in New York. In 2001, he co-curated "Poetry Plastique" with Jay Sanders.^[17] Bernstein's work has appeared frequently in The Best American Poetry series, Harper's Magazine, Poetry Magazine, boundary 2, and Critical Inquiry. While Bernstein has supported small presses throughout his career, he has also published on such mainstream academic presses as Oxford University Press, Harvard University Press, Northwestern University Press, and, most recently, The University of Chicago Press, which has published his last major works. The publication of All the Whiskey in Heaven by Farrar, Straus, and Giroux in 2010 was his most commercial endeavor to date. He has said about his work, "It's true that, on the one hand, I mock and destabilize the foundation of a commitment to lyric poetry as an address toward truth or toward sincerity. But, on the other hand, if you're interested in theory as a stable expository mode of knowledge production or critique moving toward truth, again, I should be banned from your republic. (I've already been banned from mine.) My vacillating poetics of poems and essays is a serial practice, a play of voices."^[18]

There have been three collections of essays focussed on Bernstein's work: a 1985 issue of The Difficulties, ed. Tom Beckett, The Salt Companion to Charles Bernstein, ed. William Allegrezza (2012), and Charles Bernstein: The Poetry of Idiomatic Insistences, ed. Paul Bovē, a special issue of boundary 2 (2021). Hundreds of individual essays, chapters, and reviews are listed and often linked at the Electronic Poetry Center.

He appeared in the 2000 movie Finding Forrester as Dr. Simon^[19] and in a series of 1999 TV commercials with Jon Lovitz for the Yellow Pages.^[20]

Personal life

Charles Bernstein is married to artist Susan Bee.^[21] They have had two children, Emma Bee Bernstein^[22] (May 16, 1985 – December 20, 2008) and Felix Bernstein^[23] (born May 20, 1992).

Reception

Jerome Rothenberg has called Bernstein “A major poet for our time — & then some. He has emerged as a principal voice –maybe the best we have – for an international avant-garde now in its second century of visions & revisions."^[24]

Robert Creeley has written: "Bernstein’s is the most provocatively intelligent reaction to the general drift of mainstream poetry, and he is an indefatigable writer of essays and poems wherein the determinations of genre are largely superseded. In short, he has not only given brilliant instance of the confusions of contemporary social and political premises but has done so in remarkable constructs of their characteristic modes of statement, which are not simply parodic but rather reclamations, recyclings, of otherwise degraded material."^[25]

According to Marjorie Perloff: “Charles Bernstein is our ultimate connoisseur of chaos, the chronicler, in poems of devastating satire, chilling and complex irony, exuberant wit, and, above all, profound passion, of the contradictions and absurdities of everyday life in urban America at the turn of the twenty-first century. From such early underground classics as “The Klupzy Girl,” to the mordant verbal play of “The Lives of the Toll Takers,” to the great meditation on 9/11 called “Report from Liberty Street” and the deeply personal ballads and elegies of recent years, Bernstein’s much awaited Selected Poems displays a formal range, performative urgency, and verbal dexterity unmatched by other poets of his generation.”^[26]

Claudia Rankine, Evie Shockley, and Ange Mlinko, in the Bollingen Prize citation: "As poet, editor, critic, translator, and educator, Charles Bernstein’s decades-long commitment to the community of arts and letters reflects a profound understanding of the importance of language in the business of culture-making. His extraordinary new collection of poems, Near/Miss, finds Bernstein deploying his characteristically incisive satire and sharp wit to dismantle the clichés driving public speech. Yet, in moments treading close to heartbreak, the work sounds the depths where the public poet must find the words for private grief. Bernstein’s work interrogates, restlessly, seemingly word by word, language and its performative nature. Throughout his career Bernstein has facilitated a vibrant dialogue between lyric and anti-lyric tendencies in the poetic traditions we have inherited; in so doing, he has shaped and questioned, defined and dismantled ideas and assumptions in order to reveal poetry’s widest and most profound capabilities.^[27]