Cleveland, Ohio, poet Sarah Gridley’s Loom (Omnidawn, 2013), is composed in three sections — “Shadows of the World Appear,” “This Heart is Dependent on the Outside World,” and “Half-Sick of Shadows.” Composed around Lord Alfred Tennyson’s 1842 ballad “The Lady of Shalott,” Gridley’s book — one of the strongest poetry collections I’ve seen in some time — opens with a single line on the first page of the first section: “Still the lady could come to her senses. Cool as a nude or a pressed flower.”
David Colón here presents the first of five first readings of a new poem in our series — Sawako Nakayasu’s “Couch,” a prose-poem in Insect Country (A) (Dusie, 2006). We will subsequently publish first readings of “Couch” by Lee Ann Brown, Hank Lazer, K. Silem Mohammad, and Robert Archambeau. — Al Filreis, Brian Reed, and Craig Dworkin.
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There’s a moment, a fraction of a second, when I first look at a page and recognize the thing. Ah, a poem. It’s the form of the white space that registers as much as the black. Words taking shape? Poem, poem, poem. My pupils spread, irises thin, no doubt some region in my brain changing color.
Editorial note: Fellow Canadians Paul Dutton and W. Mark Sutherland ply the field of unconventional poetic practice in this interview, conducted by Sutherland in December 2009 and January 2010. Sutherland, an intermedia artist perhaps as heavily invested in language as Dutton (with whom he has collaborated artistically in the past), explores his colleague’s vast array of poetic practices, including visual poetry, sound poetry, and improvisational soundsinging. Dutton has released five books and four recordings of his solo work (recent examples include the CDs Mouth Pieces and Oralizations), but is widely recognized for his ensemble work as well, namely his participation in the Four Horsemen with bpNichol, Rafael Barreto-Rivera, and Steve McCaffery. Below this interview, you will find six poems by Paul Dutton. — Kenna O’Rourke
Amy King, Julia Bloch, and Tom Pickard — before a live audience — joined Al Filreis to discuss Basil Bunting’s 1977 performance of Walt Whitman’s “Out of the Cradle Endlessly Rocking.” On that occasion, a reading at the University of Newcastle-upon-Tyne, Bunting read poems by Thomas Wyatt, Ezra Pound (CantosI and II), Edmund Spenser, and Louis Zukofsky, as well as this poem by Whitman. The full reading of “Out of the Cradle” runs some nineteen minutes. The group chose to focus on the first two stanzas, with a glance, late in the discussion, at the remarkable final passage: “My own songs, awaked from that hour; / and with them the key, the word up from the waves, / The word of the sweetest song, and all songs.”
Look at any word long enough and you will see it open up into a series of faults, into a terrain of particles each containing its own void.A common problem in the critical analysis of experimental writing appears to be an insistence on systematizing a writer’s creative efforts without affording due diligence to that selfsame individual’s specific relation to a/the general social narrative. Leslie Scalapino argued that even a “reconstituting of the general social narrative may be a radical change in expression arising from one’s separation from social convention.”
Trevor Joyce is an Irish poet whose innovation and creativity constitutes a sustained challenge to the conventions of poetry and reading in Ireland and abroad. Writing and publishing in Ireland since 1967, Joyce has seventeen collections of poetry and is cofounder and coeditor of New Writers’ Press. He is director of the SoundEye poetry festival in Cork, now in its eighteenth year, and is a member of Aosdána, a nationalaffiliation of creative artists in Ireland.
PennSound podcast #39 is devoted to Ann Lauterbach — a nine-minute excerpt from a reading she gave at the Kelly Writers House in November of 2013. Allison Harris introduces and hosts. For a full video recording of the reading and/or a full audio recording, see the Kelly Writers House web calendar entry. Charles Bernstein introduced the event, and a few seconds of his remarks can be heard in the podcast.