The speakers in Ginger Ko’s chapbook Ghosts, Models, Visionscontemplate the peculiarities of living in the present and a near-future populated by post-human automatons, strangely evolved mammals, and the unborn. All of these entities have a voice in this collection, along with seemingly regular human beings, and all are subject to the numbing effects of late capitalism, enacting labor that divorces the mind from the body and the self from its selves, and straining under unyielding debt in spite of constant effort.
The speakers in Ginger Ko’s chapbook Ghosts, Models, Visionscontemplate the peculiarities of living in the present and a near-future populated by post-human automatons, strangely evolved mammals, and the unborn.
Television before the golden age — pre-internet, before streaming, and way before Asian Americans enjoyed substantive roles as reasonably flawed human beings and protagonists — is also a subject of Tan Lin’s ambient novel Insomnia and the Aunt,which blends fiction and multimedia memoir to deliver the portrait of an enigmatic relative who may or may not be real.
Like many poets, I consume large quantities of television, bingeing on excellent and dumb shows as a way to wind down after teaching or writing or other emotionally drafting activity. Poets, of course, are not the only people who do this, TV being the centripetal force that it is and that it has been for nearly a century.
About sixty people gathered in Bennington College’s Tishman Lecture Hall on the evening of November 28, 2018 for Don Mee Choi’s reading for the Poetry at Bennington series, mostly professors, students, and local artists and poets including Mary Ruefle and the painter and collagist Mary Lum.