THIRD RAIL burst onto the American literary scene in 1975 with a fresh take on how far a poetry magazine could go beyond the editorial and graphic conventions of its genre to link writing with cultural-historical movements and political and artistic changes of the era. THIRD RAIL immediately cut an uncompromising and expressive path across a broad spectrum of writing and the arts starting with the publication of its earliest issues. Co-edited by founding editors Uri Hertz and Doren Robbins, the magazine set out its editorial concept based on a historically-minded approach to literature as a living cultural force. THIRD RAIL's dynamic appeal caught the interest of leading writers such as Henry Miller, Kenneth Rexroth, Robert Bly, Jack Micheline and George Hitchcock, who contributed writing to early issues. Full editing and publishing responsibilities were left in the hands of Uri Hertz when Doren Robbins left his editorial post with the magazine after five years. As THIRD RAIL continued to carve its unique course through the shifting landscape of post-sixties to late twentieth century American culture, this innovative and imaginative review of international arts and literature continued to capture and hold the attention of poets, writers, scholars and practitioners as well as appreciators of the visual, theatrical and cinematic arts. This website is the return of THIRD RAIL to the literary, artistic and cultural flow of creative production and critical discourse. Presented on these opening pages are writing and art selected for reprint here from among the most recent of the nine issues published from 1975 to 1989. An art installation titled Lo real maravilloso, Puppet Sculpture by Linda Haim, is mounted on this site. Kazuo Ohno is featured here with writing by and about the centenarian Japanese Butoh master with photographs from his classic performances. |
Frank Ward |
Kenneth Rexroth Festschrift part one Reevaluating Rexroth for Kenneth Rexroth poem by John Solt Introduction to Japanese Rexroth's Selected Poems Tetsuya Taguchi Adding to our Nature Doren Robbins The King is Dead. Long Live the King! Uri Hertz With a Tabloid Biographer, Who Needs an Oeuvre? Eros Until the End John Solt Three Sparks in the Tinder of Knowing Rachelle Lerner |
T H I R D R A I L |
international literature & arts |
poems torn from a life is a new book of poems by Uri Hertz, published by highmoonoon. To order online, follow the link to Highmoonoon |
Kazuo Ohno October 27, 1906 - June 1, 2010 |
interview by Uri Hertz from Third Rail # 4, 1980 |
Literatureandarts.com is the official website of THIRD RAIL, the legendary review of international arts and literature that appeared in print from 1975-89 and is published online here. Be wary of simulations. |
photo: Victor Aleman |
Yoshito’s smile melted snow on mountains. Because butoh has no fixed steps, the inner life of the dancer comes to the surface. As great and dynamic as other butoh artists are, there was in Yoshito and Kazuo’s butoh something especially attractive that captivated me. Ohno Etsuko, Yoshito’s wife, who chose the costumes and did the makeup for both father and son, was an integral part of their art although she has never sufficiently been credited by dance critics for her immense contributions. For me the most amazing thing about the Ohno family, including Keiko, Yoshito and Etsuko’s daughter, is their utter sweetness and the way they effortlessly exude love. Not only were Yoshito and Kazuo superb artists who changed the dynamic of world dance forever, but they were among the finest human beings I have ever met. And everyone who came in contact with the Ohno family is in agreement. There is saintliness in the air there. Leaving their house in Hodogaya, I always felt energized as if I was levitating. I visited the family home and studio perhaps forty or fifty times over 45 years. I conducted the thrice weekly workshops with Yoshito a few times for fun. I would give mental settings to the assembled dancers but never suggest how they should move. Then Yoshito would layer on his instructions. On one occasion I said, “It’s the end of the human species and you—a group of butoh dancers—are the last and only survivors, and you are also on your way out. Now dance those last moments of so-called homo sapiens.” Yoshito added, “Dance only with your back. Make your back as expressive as the front of your body.” Then he demonstrated and was masterfully engrossing in the difficult task. None of the dancers could do it convincingly, but Yoshito gave those performers something worth contemplating for years. Eulogy for Ohno Yoshito (1938-2020) Yoshito you gave your all always you listened with conviction spoke with certainty and taught what you knew to anyone passing through you smiled through adversity celebrating the journey you were light as a feather to others and tough as nails pushing yourself when you had nothing left to dance you retired from the stage then returned with newly gained wisdom stirring up unconscious residue emitting pure authenticity in your trancelike movements there was nothing ever false about you perhaps that’s why people swarmed to spend even a moment in your hallowed presence we were hungry for light and you never held back of course you had to go one day and we had to let you go but that doesn’t make it any easier to endure knowing we’ll never meet on this side of the skies again reprinted w/thanks to Toshio Mizohata and Dance Archive Network |
John Solt: Remembering Yoshito Ohno |