Trevor Joyce is an Irish poet whose innovation and creativity constitutes a sustained challenge to the conventions of poetry and reading in Ireland and abroad. Writing and publishing in Ireland since 1967, Joyce has seventeen collections of poetry and is cofounder and coeditor of New Writers’ Press.
In a discussion with Divya Victor included as part of this feature, Myung Mi Kim quickly arrives at the following problem: “I can’t quite imagine a relationship with a poem, the fact of writing or reading a poem, that would be permanently inscribed.” The sentence reads like an aphorism.
Perhaps more than at any other time in recent decades, the influence of North American poetry and poetics on English poetry is surfacing in a number of different ways. Sharing a language but positioned at a distance from the personalities and occasional conflicts between schools and coteries, contemporary English poets combine their North American influences differently, perhaps more flexibly, than North American poets do. As the works collected here demonstrate, the results of these combinations are surprising and exciting, distant and familiar; this poetry is engaging even and especially when considered apart from its influences and precedents from across the pond.
but nothing includes everything, or dominates over everything. The word ‘and’ trails along after every sentence. Something always escapes … — William James
To say that Rachel Blau DuPlessis has built her entire poetic project on the logic of the provisional and the contingent is no exaggeration. And reader, make no mistake — she has married us to this process. In the School of DuPlessian Midrash every seam and suture is exposed as a subject of instigation cum investigation. Investigation, in Drafts, is not simply a prod to the ethical; it’s heuristic: in teaching us how to read Drafts, Drafts teaches us how to read. (So maybe it’s chiasmatic, too?)