If the speed is open, if the color is careless, if the selection of a strong scent is not awkward, if the button holder is held by all the waving color and there is no color, not any color. If there is no dirt in a pin and there can be none scarcely, if there is not then the place is the same as up standing.
This is no dark custom and it even is not acted in any such a way that a restraint is not spread. That is spread, it shuts and it lifts and awkwardly not awkwardly the center is in standing.
Don’t let the title dissuade you from reading this provocative book. The poets and thinkers represented here, many of them groundbreakers in American literature and thought, don’t know what it means either. That’s the point — to define these terms so as to answer a question that has not yet been posed in American poetry: what is radical Jewish poetry and how is it related to secular Jewish culture?
‘Fossick’ is a word I never knew was specific to Australia until I moved to America, used the word, and was met with the subtle flash of confusion that I quickly identified as a polite reaction to alien slang. Fossick is a goldrush word, and it refers to the fine-tuned searching for tiny pieces of gold from rock already processed by other prospectors. Specifically, it is the act of hacking out “nuggets from the interstices” of leftover rock fragments. Idiomatically, for me, it simply names the process of cannily rifling through flotsam for treats: at a book shop, inside the fridge at mealtime, or in the rattish confines of one’s own bedroom.
When I first conceived this archival project, I immediately understood it to be an exercise in fossicking. My working concept of an archive of poetry and poetics is that, firstly, it exists as a decentralised, often isolated, set of cells. Secondly, the only way to contribute to the archive, much like maintaining a good wet compost heap, is to uncover the matter underneath and contribute new stuff on top. So this project, over the next three months, will aim to discover nuggets otherwise buried and will add new nuggets: by way of these texts as well as mp3 files, scans and images. And finally, my archive is very much an alt-archive, interested in the histories of Sydney that have not otherwise been represented in the city’s official and bureaucratic annuls. Where poetry is concerned, this means I am less interested in bibliographic remains of anthologies, well-known poets or poetry as it is occasionally and uncomfortably grafted onto public events and municipal ceremony. As a researcher, I am always interested in peripheral or lateral relations over hierarchical or generational succession.