Brian Teare

Illness, lyric, and total contingency

Brian Teare in conversation with Jaime Shearn Coan

Photo of Brian Teare (right) by Ryan Collerd, courtesy of the Pew Center for Arts and Heritage.

Note: What follows is an edited transcript of PennSound Podcast #53, an October 30, 2015, conversation between Brian Teare and Jaime Shearn Coan. Teare and Shearn Coan discuss Teare’s book The Empty Form Goes All the Way to Heaven, described by Shearn Coan as a collection that imagines “how to language what is un-languageable.” 

Jaime Shearn Coan interviews Brian Teare

PennSound podcast #53

Photo of Brian Teare (right) by Ryan Collerd, courtesy of the Pew Center for Arts and Heritage.

LISTEN TO THE SHOW

Brian Teare came back to the Kelly Writers House on October 30, 2015, to speak with Jaime Shearn Coan about his new collection of poetry, The Empty Form Goes All the Way to Heaven, published in 2015 by Ahsahta Press. Shearn Coan describes Teare’s collection as one that imagines “how to language what is un-languageable.” In this PennSound podcast, Teare and Shearn Coan talk about writing out of chronic illness, the book’s engagement with the work of American abstract painter Agnes Martin, and how poetry explores what sorts of shared communal narratives are possible.

Brian Teare's critical ekphrasis

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Photo of Brian Teare (right) by Ryan Collerd, courtesy of the Pew Center for Arts and Heritage.

The Agnes effect

We all have our sacred texts — not necessarily religious in derivation — texts that offer comfort, that answer an unarticulated need. In Brian Teare’s fifth book, he charts his shifting relationship to the painter Agnes Martin, to whom he turns in the midst of a devastating and illegible illness. Teare’s book functions as a record of this experience and an interrogation of it. Martin’s interpretation of the value of suffering informs his decision to turn away from her: “Agnes is my teacher until she isn’t.”[1]

Brian Teare interviews Brent Armendinger

Teare interviews Armendinger

PennSound podcast #51

We were happy to welcome Brian Teare for this second of two interviews he conducted in the Wexler Studio in spring 2015 (the first being with Rachel Zolf, PennSound podcast #48). Here he interviews Brent Armendinger who was visiting from Los Angeles.

Listening-being

Some unnamed species of porous poems

http://news.sciencemag.org/environment/2015/02/new-map-shows-americas-quietest-p
Detail, map of Quiet Places on the continental U.S.: National Park Service Sounds and Night Skies Division

A need to register the ecological effects of anthropocy may motivate an ecopoetic approach to soundscapes. But there’s also the fact of what scientists are calling “learned deafness” for which embodying listening-being becomes an organic imperative. Embedded, active listening is connective, emplacing, locating. But more than that: what if where you are is what you hear, and vice versa? According to Anthropologist Tim Ingold and constituents of bioregionalism, what we contemporary humans lack is inhabitant knowledge – and engaging sense capacities in acts of listening-being is one way contemporary poets cultivate inhabitant knowledge.

Informed by Soundscape Ecology, acoustic imbalances, and the fragmenting of natural habitats is the focused listening in Jonathan Skinner’s Birds of Tifft. Language is modified to “capture” sounds like a directional mic, registering, in a poem titled “Beaver,” shift from ground, to figure, to ground, to figure, etc., with the mammal making but a brief appearance via a couplet near the center of the poem:

Mobilizing affects

Rachel Zolf in conversation with Brian Teare, March 2015

Note: What follows is an edited transcript of PennSound Podcast #48, a March 18, 2015, conversation between Rachel Zolf and Brian Teare. Zolf and Teare discuss Zolf’s most recent book, Janey’s Arcadia, which Teare described in his introduction to Zolf’s reading at Temple University in November 2014 as a work that “situates us in a Canadian national history in which the ideology of nation building prescribes genocide for Indigenous people, and enlists all its settler-subjects in the campaigns of conversion, dislocation, assimilation, and disappearance.”

Brian Teare interviews Rachel Zolf

PennSound podcast #48

LISTEN TO THE SHOW

On March 18, 2015, Canadian poet Rachel Zolf visited Philadelphia and the Kelly Writers House and came into the Wexler Studio to record a conversation with Brian Teare. Zolf and Teare discussed Zolf’s most recent book, Janey’s Arcadia, which Teare described in his introduction to Zolf’s reading at Temple University in November 2014 as a work that “situates us in a Canadian national history in which the ideology of nation building prescribes genocide for indigenous people, and enlists all its settler-subjects in the campaigns of conversion, dislocation, assimilation, and disappearance.” Zolf created a film, a sound performance, and a number of polyvocal actions related to Janey’s Arcadia and has written recently about the “mad affects” generated by the reading/audience event.

'grasses' meet 'monster owl': On the UC Davis Satellite Event with Jonathan Skinner and Brian Teare

by Gillian Osborne

Yarrow seed
Yarrow seed, www.fromoldbooks.org

In the UC Davis Arboretum, common yarrow (Achillea millefolium), a “companion” plant, has many uses and many names. Along a sculpted river topped with scum, warblers disappear and reappear in native and non-native shrubs and branches. Brian Teare and Jonathan Skinner are talking about ecopoetics: the poems of Ofelia Zepeda, “emergency,” and Lee Edelman’s No Future: Queer Theory and the Death Drive. We stop to smell the sages and the yellow puffs of acacia.

The 2013 Conference on Ecopoetics began at a satellite event hosted by the Davis Humanities Center. Jonathan Skinner, editor of the journal ecopoetics, and author of among other books, Warblers, published by Brian Teare's micro-press Albion Books, sat at a table with his publisher and fellow-poet, whose most recent collection, Companion Grasses, will appear in print April 1. A selection of this same volume, “Transcendental Grammar Crown,” can also be found in the newly released Arcadia Project, edited by Joshua Corey and G.C. Waldrep.

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