Articles

Clark Coolidge's cave art

Clark Coolidge, “Knox Cave: Sketch-Map By Clark Coolidge (NSS 1294)” [click for larger image], June 1956. Image courtesy of Clark Coolidge and 'The Northeastern Caver.'

Face an inch from the earth, fingers
ground down clenched into it.
Crawling, try to push the
earth off me so I can stand
away from it.
— Clark Coolidge and Philip Guston, Baffling Means

On embedded poetry

Stephen Collis speaking to the media outside the BC Supreme Court.

I. Poetry and the mess

The notion that poetry has nothing to do with the “real world” of history and politics is a notion mostly held by a) some poets, and b) some people otherwise invested in poetry (critics/professors). The idea doesn’t come from the “real world” (however that might be artificially constructed), where I have never myself witnessed poetry being dismissed out of hand as an unwanted or alien intrusion.

Andrée Chedid and the alchemy of poetry

« Les vivants » (“The Living”) is the second sequence in the poetry triptych that comprises Andrée Chedid’s 1956 work, Terre et poésie (Earth and Poetry).

a.rawlings: Ecopoetic intersubjectivity

a.rawlings at Swartifoss, Iceland.

In a recent essay, “Learning the Grammar of Animacy,” Robin Wall Kimmerer, a botanist who is a member of the Potawatomi tribe (one of the Ojibwe or Anishinaabe peoples of North America), recounts being stunned when she learned of the word puhpowee from an ethnobotanical study on traditional Anishinaabe uses of fungi.

'It Wasn't a Dream, It Was a Flood'

Approaching realness in Frank Stanford

Frank Stanford is an anachronism in late twentieth-century poetry. Like many of his southern contemporaries, much of his work is driven by a narrative impulse — his poems nearly always have stable, embodied speakers; they tend to use fairly normative syntax; they generally feel grounded in a particular geographic location; and they’re concerned with identity, memory, and depicting external action.