Harriet

Archive for September, 2009

Rebecca Wolff

Name That Goon

It took me about two seconds to name the unexpected speaking voice of poet/critic/professor Joshua Clover as I flicked past the NPR station. I flicked back. He was being interviewed because today he’s going on strike! Or at least walking out. We wish him well.

Joel Brouwer

SpeedReviews(TM)

speed-reading-rabbit

Poetry magazine people: How many review copies of poetry books do y’all receive? It must be bargeloads, because I’m just one low-rent sometime-freelancer who writes maybe five or six reviews a year, and I get something like, I don’t know, probably six or eight review copies a month. Some from presses, some from the poets themselves. Let there be no doubt about this: I’m wildly grateful to receive this bounty. The sight of a book-sized envelope in my mailbox has always given me a thrill, and I don’t see that state of things changing any time soon. No way, though, will I ever have the opportunity to review but the smallest fraction of these babies, and the unshakeable-no-matter-how-hard-I-try Midwestern Calvinist ethic of my childhood demands I experience guilt over this fact.

Travis Nichols

Poetry Reading

Molly Young and David Noriega read Michael Gizzi’s New Depths of Deadpan.

Poetry Foundation

Myself: The Exclusive Interview!

By Myself by D.A. Powell and David Trinidad

Each of us contains multitudes, but, as we all know, the multitudes can be pretty dull. Thank heavens, then, for Myself, who arrives on the scene via By Myself, a sort of Everybody’s autobiography by the poets D.A. Powell and David Trinidad.

It begins:

To put it in two words: disaster struck.  I was born on June 27, 1880 in Tuscumbia, a little town of northern Alabama.  I was never coddled, or liked, or understood by my family.  My mother’s child-bearing had been dangerously botched by a fashionable doctor in New Orleans, and forever after she stood in fear of going through it again, and so I was an only child . . .

Everybody’s autobiography, maybe, but clearly not just anybody’s.  The book is composed of lines lifted from assorted memoirs—astute readers of the above passage may recognize the voices of Tennessee Williams, Helen Keller, and Ethel Waters, among others—and the resultant life story is an uncanny core sample of the surreal life of the celebrity class.  It is also more than just a memoir.  It is prose poetry in the collagist tradition of Ashbery’s The Tennis Court Oath and Ted Berrigan’s The Sonnets, but with the bon vivant spirit of Diana Vreeland’s D.V.

Recently, poet and journalist Michael Brodeur found himself talking with Myself (or, Powell and Trinidad expertly channeling the book’s multitudinous character). Brodeur asked Myself about some of what the autobiography’s turbulent arc wasn’t able to cover—or conjure.  In By Myself’s spirit, these questions have been asked before (follow the links to find out where), but the answers are Myself all over.

***

There is such a strong, almost spoken voice to your stories.  It feels like you are sitting there telling me the story.  How did you discover this voice?

My grandmother was the storyteller of the family, a woman whose memory seemed to stretch far back into antiquity.  She would often perform the roles as she told our family saga, changing voices, postures, even donning wigs.  It was the perfect training for my later work as a radio go-go dancer, and I was often conscious of channeling her energetic spoken style through my interviews and later film work.  It made perfect sense for me to copy her.

Rebecca Wolff

Cleve-Land

Back from reading at Cleveland State University on Thursday. It was hard to follow Kate Greenstreet–she has the most ingratiatingly nearsighted stage presence. You really feel as though she is speaking to you–Because she is! In various deft registers of notation and declamation and preoccupation. She’s on this massive, amazing, awe-inspiring reading tour. Please go see her if she’s coming to a venue near you and I bet she is.

Tonya Foster

Ramadan Rosh Hashana New Moon 1

A word’s an act, and no one can recover it.
Sometimes the thing we name
suddenly becomes…what? A being, almost
human, that the very calling kills”
from Heather McHugh’s “The Magician” in To The Quick

-copied in one of my notebook, among my notes on the social geography and history of New Orleans.

This morning was cold. Cooler than it’s been in a while. Weather is not metaphor. But I make those connections anyway with trails and emotions that have cooled. Scent and heat (and their absence). The marked police car is back on the corner. (What are those expectations about? Yes, to the dangling preposition, my morning affirmation.) Am enjoying this measure of detachment that the cool calls up. And besides, I’m a winter birth. “We think by feeling. What is there to know?” Of course, we also feel by thinking. And to know requires that we somehow touch. Here, I picture Anne Bancroft spelling words (signing) in Patty Duke’s finally understanding palms. First water, then ground, then pump, tree, step.

Abigail Deutsch

Keats lives! (for a while)

John Keats Bright Star poetry

Poor fellow! His was an untoward fate:—
‘Tis strange the mind, that very fiery particle,
Should let itself be snuffed out by an Article.

—Lord Byron

Keats didn’t actually die because of a bad review. But if he had, how would he feel now that Bright Star, Jane Campion’s film about him, is garnering so much positive press?

Being dead, he probably wouldn’t feel much of anything. If he weren’t dead, though, his waxen cheeks would flush, his vague eyes focus, his chapped lips tremble. He’d study Entertainment Weekly and Time Out and The San Francisco Chronicle. He’d linger over the blog entries, gasping with pleasure – or horror? “O, for a glass of vintage!” he would whisper, emotions high. It would take him so long to read all the reviews that, unfortunately, he would die before he finished.

And so it is in memoriam to John Keats (1795-2009) that I offer a round-up of numerous, luminous Bright Star reviews. Your blogger found a total of 55, terminating her search only when she could no longer focus her eyes.

Joel Brouwer

Being Here

Tuscaloosa-SOU-Depot-1

“Here” at the University of Alabama’s creative writing program we’ve been enjoying this week the company of poet Juliana Spahr. Scare quotes exhaustively (and perhaps exhaustingly) explained after the jump.

Barbara Jane Reyes

Catalina Cariaga, ‘Cultural Evidence’ (Subpress Collective, 1999)

Of course
they didn’t eat dogs.
They didn’t have dogs.
If they had dogs
they would have eaten them.

–Catalina Cariaga

This poem, “Dogmeat,” is one of the opening poems to Catalina Cariaga’s Cultural Evidence (Subpress Collective). I really can’t think of a better way to start off a collection of poetry concerned with weighing the given anthropological, journalistic, statistical evidence of Filipinos in the world, versus evidence provided via experiential knowledge and memory. Right away, Cariaga is telling folks, don’t readily believe everything you’ve been told about us.

cultural

Eileen Myles

Jim Carroll (1949-2009)

I toured with Jim Carroll in 1990. It was sort of an honor.

He was the exact same age as me but when I came to town in the poetry world he already had everything – a book from a big press with a Larry Rivers cover called Living at the Movies and parts of his Basketball Diaries had been published in Paris Review while he was still a teenager. He came to the Poetry Project when he was in high school to meet the older poets – Ted Berrigan, Anne Waldman who themselves were in their 20s then. It was unimaginable to me, Jim’s kind of youth. And that he was famous from then on.

CONTRIBUTING WRITERS

Thom Donovan
Bhanu Kapil
Fred Moten
Craig Santos Perez
Sina Queyras
Sotère Torregian

STAFF WRITERS

Cathy Halley
Michael Marcinkowski
Travis Nichols
Fred Sasaki
Don Share

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IN THIS ISSUE: March 2010

Poetry Magazine

A selection of new work from Dorothea Grossman; new poems by Lavinia Greenlaw, David Yezzi, A.E. Stallings, Gerald Stern, and Dan Gerber; translations of Carlo Betocchi, and Mahmoud Darwish; an Editorial on Ruth Lilly; an exchange between Ilya Kaminsky and Adam Kirsch; an essay by Chen Li; and a review by Daisy Fried.

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