Just before his Kelly Writers House reading on Tuesday, April 21, 2015, John Yau spoke with the students in my New American Poetry class, English 288 at Penn. He spoke about a wide variety of topics, including discussion of Further Adventures in Monochrome (first question) and other of his works, poetry and identity, white people playing Asians in Hollywood films, the allure of Humphrey Bogart, and recent poetry convtroversies.
Trained as an engineer, Christine Rhein spent the first part of her adult life working in the auto industry, that boom and bust core of the Detroit economy. She tells me that this background in mechanical design has shaped her poetry in a kind of dialectics of freedom and constraint. On the one hand, she finds herself approaching a new poem as a puzzle to be solved, a design problem. And yet the poem as problem doesn't lend itself to a purely mathematical or rational solution. Instead, a kind of surprise haunts the poetic machine.
I am pleased to present a glimpse at John Shea’s Tales from Webster’s project — a prefatory note about purpose and method, followed by one tale, which is a tale unto itself but also serves as a note to readers of the book of tales.
The “tales from Webster’s” are a new literary form invented by me. What is a “tale from Webster’s” — a poem in prose, a short (very short) narrative, a verbal arrangement? A combination of all of them? There may be no conclusive answer. On the other hand, the structure of the “tale” is clear. The bolded key words on the left of the page are consecutive entries in Webster’s New World Dictionary, Second College Edition (World Publishing Company, 1970). The text on the right is my connective tissue that links the key words into a kind of narrative, scene, or evocation of personality. The tale is read the customary way, from left to right, beginning at the highest point — with the additional frisson of a leap across the white space after each dictionary entry. There must be at least five key words; and the linking text is no more than three lines long. Get ready for some good, not-so-clean, intellectual fun. — John Shea
In our last post we briefly introduced three closely related terms: “deep-,” “thick-,” and “forensic-” mapping. Each of these concepts expresses the potential of Geographical Information Systems (GIS) to produce maps with extensible, networked, and interactive strata of information. In their combinatory potential, their dynamic interrelations, and their outward, investigatory ethos, these GIS maps offer a lively and potentially useful parallel with vital strains in contemporary poetry and poetics.
[The following is from a remarkable essay by Jack Foley, which presents a much needed counter proposition to ideas about “influence” & its “anxieties” that have been present without sufficient opposition in a prominent wing of American criticism & literary studies. The complete essay continues at full throttle & in a meaningfully personal way to a discussion of the influence of the work of three canonical or near-canonical writers – Thomas Grey, James Joyce & Robert Duncan – on Foley’s own early work as a solid contributor to our developing