Al Filreis

Conversation with Ken Lum

Ken Lum is the the new head of Penn’s undergraduate program in Fine Arts (as of Fall 2012). Lum is an artist, curator, editor, writer, and teacher. He has published extensively, and a book of Lum’s writings, edited by Hans Ulrich Obrist, is forthcoming from Walter Koenig Books. In addition to holding faculty positions at University of British Columbia (Vancouver) and Bard College, he has realized several permanent public art commissions including for Vienna, St. Moritz, Leiden, Toronto, Vancouver and Utrecht. He is currently working on public art commissions for the cities of Seattle, St. Louis, and New Orleans. This discussion took place at the Kelly Writers House on January 30, 2013.

Poem going down the drain (PoemTalk #45)

Eileen Myles, "Snakes"

Eileen Myles in October 2008. Photo by Annemarie Poyo Furlong.

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Eileen Myles wrote “Snakes” just as she was assigning children in a friend’s Provincetown poetry workshop to write a poem with the following not-so-constraining-seeming constraint: “Be any age and go down the drain with it.” Her poem, then, is something of a pedagogical model, an exercise in teaching by participation. Or perhaps the assignment she gave the students simply felt so alluring to her — befit her own aesthetic so well — that she couldn’t help but try it herself, regardless of her role as young writers’ guide.  This was in 1997 or so. By January 1998 she was reading the poem at the Ear Inn in New York. It was published in The Massachusetts Review also in 1998.

Poem going down the drain (PoemTalk #45)

Eileen Myles, 'Snakes'

Eileen Myles in October 2008. Photo by Annemarie Poyo Furlong.

LISTEN TO THE SHOW

Eileen Myles wrote “Snakes” just as they were assigning children in a friend’s Provincetown poetry workshop to write a poem with the following not-so-constraining-seeming constraint: “Be any age and go down the drain with it.” Their poem, then, is something of a pedagogical model, an exercise in teaching by participation. Or perhaps the assignment they gave the students simply felt so alluring to them — befit their own aesthetic so well — that they couldn’t help but try it themself, regardless of their role as young writers’ guide. This was in 1997 or so. By January 1998 they were reading the poem at the Ear Inn in New York. It was published in The Massachusetts Review also in 1998.<--break- />

On the other side of the tracks (PoemTalk #44)

Fred Wah, "Race, to go"

from left: Lisa Robertson, Jeff Derksen, Bob Perelman, Fred Wah

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Lisa Robertson, Jeff Derksen, and Bob Perelman joined Al Filreis to talk about a poem in a sixteen-poem series by Fred Wah going under the title “Discount Me In.” That series and several others were brought together in a book called Is a Door.  Our poem, “Race, to go,” is the first — a proem of sorts — in the “Discount Me In” group, and we have occasion during our discussion to talk about the several valences of discounting. I don't count. The census misses me because I fall between the cracks in racial categories. The neo-liberal moment has cheapened me. Both positively and negatively racially charged language around food, freely punned and intensely oral, turns casual by-talk into rebarbative backhand (creating an effect distinctly pleasurable) and brings into the poem the entire story of official Canadian multiculturalism.

On the other side of the tracks (PoemTalk #44)

Fred Wah, 'Race, to go'

from left: Lisa Robertson, Jeff Derksen, Bob Perelman, Fred Wah

LISTEN TO THE SHOW

Lisa Robertson, Jeff Derksen, and Bob Perelman joined Al Filreis to talk about a poem in a sixteen-poem series by Fred Wah going under the title “Discount Me In.” That series and several others were brought together in a book called Is a Door. Our poem, “Race, to go,” is the first — a proem of sorts — in the “Discount Me In” group, and we have occasion during our discussion to talk about the several valences of discounting. I don't count. The census misses me because I fall between the cracks in racial categories. The neo-liberal moment has cheapened me. Both positively and negatively racially charged language around food, freely punned and intensely oral, turns casual by-talk into rebarbative backhand (creating an effect distinctly pleasurable) and brings into the poem the entire story of official Canadian multiculturalism.

Recasting poetry

'The long biography of a poem'

Kaia Sand

In Distant Reading, Peter Middleton describes reading a poem as though it has a “long biography.” This approach involves “mining what is available of the aggregative textual archive that composes the textual memory of the poem, its showing in magazines, performance, anthologies, its construal in reviews and commentaries and other treatments” (23).

Consider the long life of Claude McKay’s "If We Must Die."

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Introduction to the poetry and poetics of 1960

Two months before 1960 commenced, Stanley Kunitz in Harper’s Magazine redefined the word “experimental” to mean the inevitable resistance to any prevailing style for the sake of “keep[ing] it supple.” Yet at the time of his writing, the turn of this new decade, “the nature of that resistance is in effect a backward look.” The recent Pulitzer Prize winner added: “This happens not to be a time of great innovation in poetic technique: it is rather a period in which the technical gains of past decades, particularly the twenties, are being tested and consolidated.”

Poetry in 1960, a symposium: Question and answer session

Editors note: This is a transcription of the discussion that immediately following the short presentations on December 6, 2010, at the Kelly Writers House in Philadelphia. If you check these words against the video or audio recordings, you will notice that the participants have slightly corrected or otherwise revised their comments — for style and clarity, we would say on the whole, rather than substance.

J2 launches

A preface from the publisher

Happily, we inaugurate Jacket2. For all the complexity of the work in poetry and poetics you’ll read on these screens, what we’re doing here is I think explained rather simply. We want to preserve what John Tranter has done with Jacket in its first forty issues, and to a significant extent — although in a somewhat new mode and a somewhat different context — continue and extend it. The new mode? A site pushing technically past what’s been called 2.0, with all the vaunted interoperabilities: collaborative editing and rostering of new articles; a rotation of three-months-each guest commentators, able themselves to post contemporaneous responses to various poetics scenes they “cover”; a means of laying out features that enables readers to see at once all diverse elements of materials and responses to a single poet or topic as gathered by a guest editor; an image gallery for uncluttered viewing of many images associated with an article or feature; podcast series (such as PoemTalk and Into the Field) both streamable right on the page and downloadable for free; video players both inline and linked; a Reissues department for making otherwise inaccessible archival material available in full digital facsimile; advanced searching through both new Jacket2 pieces and every single article, review, and announcement ever published in old Jacket; and seamless server-side linked cross-relations between critical responses written for J2 about readings and recordings on one hand and, on the other, all the digital audio (and video) stored in the vast archive known as PennSound. Even as we just get started, dig around and you’ll find a great deal here — and tons of potential.

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