Articles

Reactions to Basil King's work

Basil King. Photo by Miles Joris-Peyrafitte.

I.

I’m flying.  Curious, in the speed of language, even when the talking seems ordinary / flat, there are echoes — wait a few lines down — words like Quasha and cumquats come up and leave, leaving floral pieces,    and   sky.    Words  a-float  ,/ ,,/ Aegean gods have a kind of influence, and there are the colorful ghosts
                                                                          dark-lined
                                                                             hovering

Avant-Latino poetry

Left to right: J. Michael Martinez (photo by Jensen Larson Photography), Rosa Alcalá (photo by Josh Bowen), and Rodrigo Toscano.

When Vladimir Mayakovsky memorably proclaimed that “without revolutionary form, there is no revolutionary art,” and Renato Poggioli wrote that “the avant-garde image originally remained subordinate, even within the sphere of art, to the ideals of a radicalism which was not cultural but political,”[1] and Marjorie Perloff (now famously) asked “what if, despite the predominance of tepid and unambitious Establishment poetry, there were a powerful avant-garde that takes up, once again, the experimentation of the early twentieth century?,”[2] they weren’t talkin

This poem is a song an act a work of love

Taggart and repetition

Taggart’s “Slow Song for Mark Rothko” from ‘Peace on Earth’ (Turtle Island, 1981).

Reading the poetry of John Taggart involves the pleasures of repetition, as well as the mysteries and agitations of repeated presences: of language, of ideas, of sound forms, of song. To open a book of Taggart’s poetry is to invite a round of singing and a round of thinking about what the poem does when it is sounded out, what elements of thought it welcomes in. A retrospective consideration of his work must necessarily involve the recognition that repetition is what rings the changes in the poems and what signals those changes themselves that the poems enable.

Shadow memory shadows music

Contextualized notes on John Taggart’s prosody

Part 1: Contexts for John Taggart’s prosody

John Taggart: From his own words

A 2009 letter from Taggart to Joel Chace.

As Lorine Niedecker once wrote of Louis Zukofsky, I can write the same of John Taggart: “I [am] fortunate enough to call him friend and mentor.” I met John back in 1985 as a freshman at Shippensburg University. By some strange luck, I like to believe it was the hands of the gods, I was assigned John as my adviser. I was an undeclared major with “poetry” listed under Hobbies on my application. Perhaps this was the deciding factor that got me placed with him; whatever the case, that placement turned into a mentorship and a friendship that have lasted to the present day.