"The Language Writing Collection comprises approximately 1,200 items including books, pamphlets, magazines, broadsides, manuscripts, letters, and ephemera, presenting a rigorous and comprehensive survey of the most influential American avant-garde literary development of the last 50 years. The Collection chronicles the group’s inception in the seventies, maturation in the eighties, and influence through the nineties and beyond, and provides the basis for in-depth scholarly research in recent experimental poetry and poetics; literary production and community; and independent small press publishing. The work of nearly 50 poets central to Language Writing has been collected along with more than 50 runs of little magazines associated with the movement." -- From the Granary Books Prospectus.
[Originally published in Burrowing In, Digging Out (1974) and The Choice (1977), both from David Meltzer’s Tree Books. See also the note at bottom of this posting & the essay on Drachler’s work by Christine Meilicke, which appeared as the posting on Poems and Poetics for April 19, 2017.]
As part of the Poetry Across Languages event organized by Nick Martinez Defina, Julia Kolchinsky Dasbach shared an excerpt from a series exploring language and the meaning of home and reflecting on her own Ukrainian heritage. Held at the Kelly Writers House on April 6, 2017, this event explored translation, language, and identity across borders.
A central premise of Amelia Dale’s work is that it is entirely unconcerned with the valence of the work itself. She makes a poem that is a thing before it is a poem, a thing that never wants to be a ‘poem,’ that nevertheless is or gains something when we call it a poem. Here I want to spend some time with Amelia Dale’s 2015 poem TRACTOSAUR, published by Troll Thread in 2015.
A Word doc, for example (the origin of her PDF poems), a file type with a fairly rudimentary and utilitarian purpose, becomes for Dale a playful space in which the poem can extend itself beyond its limits. The format — an electronic file of white rectangular frames/pages with a basic sans serif font and a wonderfully gnarly-looking illustration rendered in MS Paint or similar — gives us a thing that wants to decimate our concept of the poem, of even the illustrated poem.