An alien man-boy, Evan Kennedy. Already starting his poetic career with two pretty good books, then with a giant leap comes the third, Terra Firmament. Now another — this time a mega-leap on all fronts — a book he calls The Sissies. Kicking out the jambs on most fronts, though still in his early thirties, Evan seems to reach full poetic power. The Sissies is as shocking and dismaying as it is ecstatic. Read The Sissies. There’s no poetic genius around these parts today? Read this work and see for yourself!
The speaker of “Survey,” a long poem among the “New and Uncollected” of Elizabeth Willis’s Alive: New and Selected Poems, illustrates public interest and personal exposure combining to make an American lyric. As the title suggests, the poem responds to an easily imagined questionnaire ranking priorities and concerns with a list of wishes and worries, two of perhaps the most private and maligned categories of our Just Do It culture in which both wishes and worries are judged as failures of will.
Bio-poetics is an art form not interested in some Modernist purification of the tribal dialect but instead in a creative mongrelization of the planetary genome. In Grammatical Man, Jeremy Campbell refers to “basic resemblances between genes and language that are beyond dispute” — also beyond dispute are the resemblances between living organisms at the level of their molecular components.
In this 5-minute video excerpt from the recording of a 90-minute live “ModPo” webcast on aleatory poetry, Amaris Cuchanski, Emily Harnett, Max McKenna, erica kaufman and Lily Applebaum each take a turn discussing the Whitmanian mode as it can be discerned in contemporary poetry. To view the entire video, click here.
Here's my introduction to a session featuring readings for the Rothenberg/Joris Poems for the Millenium back in 1998. In my 11-minute intro I tried to do something a little more than my usual brief, get-out-of-the-way segue to the main presenters. I wanted to say something in particular about Jerome Rothenberg's passage (as a young poet) through the cultural cold war. I make reference, for instance, to his discovery at the University of Michigan that in the 1950s Whitman was definitely on the outs — that Whitmanism in the 1950s was academically (if not also otherwise) dangerous. (To get to my comments about Rothenberg in the 50s, you can go immediately to a point halfway through the recording.)