from the annoucment by Ntamamo, the publisher, in Helsinki:
A seminal early work by the influential, innovative American poet, in English-Finnish bilingual edition, translated into Finnish by Leevi Lehto, and with an interview with the author by Chinese scholar, Nie Zhenzhao, as an appendix.
Mail received the other day from Joe Milutis, who Skyped into my William Carlos Williams class to talk about Paterson and the work he’s been doing on the impressively audio-rich and intertextual blog New Jersey as an Impossible Object.
I had inferred from pictures that the world was real and therefore paused, for who knows what will happen if we talk truth while climbing the stairs. In fact, I was afraid of following the picture to where it reaches right out into reality, laid against it like a ruler. I thought I would die if my name didn’t touch me, or only with its very end, leaving the inside open to so many feelers like chance rain pouring down from the clouds. You laughed and told everybody that I had mistaken the Tower of Babel for Noah in his Drunkenness. — Rosmarie Waldrop*, “The Reproduction of Profiles”
I was thinking about why I wanted to write about still lifes, which perhaps don’t seem so directly a ecological and/or poetic topic, really. I guess it’s partly because I think so much about intentional landscapes and the still life is a miniature of that. Still lifes also are an intersection between art/nature, and in the physicality of their arthood (artiness?), actual places in which to think about where the creative soul can have something to say about how we exist in and of nature.