CAConrad returned to the Kelly Writers House on January 27, 2016, to visit the Wexler Studio to speak with Julia Bloch and to read from ECODEVIANCE: (Soma)tics for the Future Wilderness, which appeared from Wave Books in 2014, as well as a number of new works generated from his ongoing performative and pedagogical practice of somatics and ecopoetics. CAConrad grew up in Pennsylvania and is the author of seven books, including ECODEVIANCE, A Beautiful Marsupial Afternoon, The Book of Frank,and Advanced Elvis Course, all of which explore the place of poetry in social and political life. Eileen Myles wrote in 2010 in Jacket,“he’s the poet who always changes the room he enters. He’s poetry’s answer to relational aesthetics. Which is the movement camped out now at the center of the art world in which the audience becomes the inevitable workings of the piece.”
Conrad was a 2011 Pew Fellow and a 2015 Headlands Art Fellow, and has received fellowships from the Lannan Foundation, the MacDowell Colony, Banff, Ucross, and RADAR. He is currently living in Asheville, North Carolina. Conrad’s commitment to a poetic practice that can manifest change is legible as much on the page as it is in the actions and community workshops he leads around the country.
MAKE SOUP but you are reading. Make your body from soup infused with poems. Read pages from NEW ORGANISM directly into the vegetables. My soup had parsnips, cauliflower, beets, and sweet potato, with sautéed brussel sprouts and garlic-filled polenta fritters. READ these marvelous poems INTO the parsnip, “Discontinuous residence of story / Aperture in the holding space,” then float it in the pot of heating water. The soup absorbing poetry and we will taste these poems. Read into the water just before it boils, “Society writes her desire, fucking, end-stopped, overflowing.
TC Tolbert’s poetry collection Gephyromania plays with, problematizes, and bridges various subjectivities and concepts of the body, identity, and text. Throughout multiple readings, Tolbert’s language creates a sustained state of anticipation, evoking a feeling of bodily movement (in both reader and author) not inappropriate for a volume whose title refers to an obsession with bridges. A bridge both separates and unites, just like a long-distance communication. What follows here is a review in the form of an unsent epistolary blast.
Find a book at Flying Object you love, like Moods by Rachel Glaser. Slip it under your shirt and hold it in place while extending your belly, feeling for the poems to kick with a muffled laugh. Walk through the building singing lullabies, rubbing your book baby growing beneath the folds of your shirt-vagina. Give birth on the floor or couch, or privately in the bathroom. Be careful not to tear or bend its little cover or pages to prevent costly surgery and recovery.
“Part of the secret of success in life is to eat what you like and let the food fight it out inside.” Mark Twain wrote that. C. A. Conrad’s book of poems (Soma)tic Midge proves that exactly the opposite (opposite in every element) is probably the truth. Eat what you must, and let the food fight it out on the outside. Fortunately for us, the outside is this writing.
The Faux Press of Cambridge, Mass., published Conrad's chapbook, the earliest work in a series he has been writing under the general rubric “somatic poetics.” Poetry of the body, by the body, maybe even for the body — although while the first two effects can be discerned in the writing, the latter of course can only be guessed from it. But I'm guessing this work has felt to the poet to be for the body also. Work that is done to the body.
Before and after the Faux Press publication of the book, Conrad read parts of it at various readings, and PennSound’s Conrad author page features a number of recordings of these sections. See, below, for links to all these — brought together in one linked list.