We are at an interesting historical juncture. Governments, acting, as usual, as agents for industry and capital accumulation, are fiddling with the dials controlling communicative acts, trying to squelch (as in “suppress the output” of) the frequencies of dissent, or else simply decreeing them (via legislation, in Canada, like Bill C-51) the noise of terrorism, “full of sound and fury / signifying nothing.”
The notion that poetry has nothing to do with the “real world” of history and politics is a notion mostly held by a) some poets, and b) some people otherwise invested in poetry (critics/professors). The idea doesn’t come from the “real world” (however that might be artificially constructed), where I have never myself witnessed poetry being dismissed out of hand as an unwanted or alien intrusion.
I’m thinking about the ways poets embed themselves within and ply their awareness to particular locales, and I’m thinking more specifically of how such an embodied poetics is enacted as a healing gesture - and how these gestures connect to form a kind of bioregion, one defined by responsive organisms. It’s no wonder they are appearing often of late – it’s been almost a year to the day that we read reports of a newly-discovered crack in the West Antarctica ice sheet that threatened larger destabilization of surrounding areas, and read that a rise in sea level by 10 feet or more was deemed "unavoidable."
Fred Wahwas born in Swift Current, Saskatchewan in 1939, but he grew up in the West Kootenay region of British Columbia. He studied music and English literature at the University of British Columbia in the early 1960s where he was one of the founding editors of the poetry newsletter TISH. After graduate work in literature and linguistics at the University of New Mexico in Albuquerque and the State University of New York at Buffalo, he returned to the Kootenays in the late 1960s where he taught at Selkirk College and was the founding coordinator of the writing program at David Thompson University Centre. He retired from the University of Calgary in 2003 and now lives in Vancouver. He has been editorially involved with a number of literary magazines over the years, such as Open Letter and West Coast Line.
What follows is an introduction to Jordan Scott’s reading/screening at the University of Georgia on Wednesday, September 24, 2014. Sponsored by the creative writing program, the event was held at 7 p.m. in the Lab Room at Ciné, 234 West Hancock Avenue, in Athens, Georgia. Earlier that afternoon, Scott had visited Andrew Zawacki’s advanced undergraduate workshop “Graph & Photograph,” whose twenty-one students interviewed Scott about Decomp.
I recently received a copy of o w n (CUE, 2014), a book of three new works constructed through a variety of text and visuals connected through the suggestion of shared affinities: a sense of collage, disjuncture and ecopoetic.
With poets using the Earth itself as a mode of composition for textual erasures and explorations of physical systems in relation to poetics, I imagine a future where an astronaut-poet might plant an adamantine sound poem in the icy particle rings of Saturn to see if it could withstand bombardments and pressures from the cosmos. Perhaps the icy particles would play the decomposing sound poem, changing as it decays, to a live audience on a nearby space station. Maybe the poem would be titled after the language of celestial mechanics: “Orbital Resonances.”
Stephen Collis is an important contemporary poet, with ten books of poems published, at least eight of them as substantive book publications. To the Barricades (Talon, 2013) is one of the books in a trilogy going under the title “The Barricades Project.” Here the poet maintains a shifting or fluid form of social address (“on the run,” is what one reviewer noted), and this is the formal expression of the works’ content. Together, all the work seeks to form cities of words. The compilings of negativities (e.g. in a poem called “Threshold song” [p. 128]) suggest their hopeful opposites – spaces inhabited, or at least occupied, by the very coal ports, containers, parties, societies, and species that seem to have vacated. The project is clear and striking – holds out possibilities even through its negations.