Some thoughts on the line in poetry
Two problems, first of beginning, then of cohering, beset me as I worried the topic of this talk. Beginning and cohering, obviously, elementary features of typical expository forms, but problematic, more so for a topic that one finds, at the same time, fundamental and elusive, elusive because fundamental, in one’s own practice of reading and writing.
Two problems, first of beginning, then of cohering, beset me as I worried the topic of this talk. Beginning and cohering, obviously, elementary features of typical expository forms, but problematic, more so for a topic that one finds, at the same time, fundamental and elusive, elusive because fundamental, in one’s own practice of reading and writing.
But here are three thoughts to possibly begin with:
Samba-poesia
Poetry in the streets
In December, I spent a vibrant night at the Cooperifa spoken word salon on the South Side periphery of São Paulo. The open-mic sessions take place every Wednesday at the bar of Zé Batidão, a neighborhood gathering spot in Jardim Guarujá, where up to 300 people of all ages converge weekly to listen to and perform poems. Over the last eleven years, Cooperifa (the name is a compound of cooperativa and periferia) has become well-known in São Paulo and throughout Brazil for uniting and strengthening, through poetry, a community that is marginalized in both social and geographic senses. Sérgio Vaz, a poet and founder of Cooperifa, is widely recognized as a community leader; in 2009, Época magazine named him one of the hundred most influential people in Brazil. Indeed, Cooperifa spoken word is something of a popular movement that has spread beyond São Paulo.