The arrows that traverse Adam Greenfield’s “The Network City” not only pay homage to Debord and Jorn’s “The Naked City” but also suggest a cluster of arguments that grow increasingly persuasive as counter-mapping enters the digital age. As the columns in the second half of this series will suggest,
[To describe John Martone as our greatest living miniaturist, as I have in the past, is to go back for me to a time many years ago when Ian Hamilton Finlay & I corresponded about a poetry of small increments (one-word poems & other such concerns). For Finlay, I believe, some form of minimalism was at the heart of the concrete poetry he was then exploring & developing, & for myself it entered into aspects of ethnopoetics & appeared most clearly in the numerically based poems (gematria) that I was beginning to write. It’s with someo
Liz Howard was born and raised in rural Northern Ontario and is currently a poet and cognition research officer in Toronto. She is co-curator of the feminist reading series AvantGarden and graduate of the MFA program in Creative Writing from The University of Guelph. Her chapbook Skullambient (Ferno House Press) was shortlisted for the 2012 bpNichol Chapbook Award.
Last weekend was the seventh annual Mountains to Sea dlr Book Festival, in Dun Laoghaire, which is on the coast a short distance southeast of Dublin. The five-day festival, directed by Alice Lyons, had an extraordinary line-up, including readings by Paul Durcan, Maureen McLane, Tom Pickard, Nuala Ní Dhomhnaill, Peter Sirr, Kei Miller, Peter Fallon, and David Ferry (among many others).