The discourses with the poets Vanessa Place, Kim Rosenfield, Rachel Zolf, and Myung Mi Kim are records of developing notions of performance, composition, and authorial agency. We center on the work of the “voice” in its many, glossolalic manifestations, asking how the poetic “voice” (through speech, performance, ventriloquy, enunciation) witnesses the contemporary moment. These discourses hover around the opening in the lower part of the human face, surrounded by the lips, through which the discourses are taken in and from which interviews and other views are emitted.
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.
In January 2011, I had the pleasure of hosting ten Canadian poets (and one Belgian collaborator!) first at the Kelly Writers House in Philadelphia, and then at Poets House in New York. For months, Charles Bernstein and I had been hard at work planning a festival that would showcase various different strands of experimental writing in Canada, from sound poetry and multilingualism to activist and communitarian interventions to scientifically inflected conceptual practices.