This feature on Conceptual writing collects thirty-five responses from a wide group of practitioners and critics of diverse method, intent, and position, who responded to Divya Victor’s 2015 call for writing: 1) To expand the field of critical influences and frame its discourses through the lenses of anti-imperialism, postcolonialism, spirituality studies, disability studies, ecocriticism, and critical race theory; 2) To create records of aesthetic and political genealogies which resonate as true and lived for practitioners; and 3) To articulate the critique of dominant and hegemonic genealogies or histories associated with contemporary conceptual and conceptual-like writing.
For a poetry that yields such immediate and immense pleasure, the work of Joseph Donahue remains hard to characterize. As the author of seven volumes — including the forthcoming Red Flash on a Black Field and Dark Church, the third installment of his ongoing Terra Lucida serial project — Joseph Donahue has spent almost three decades crafting a sensibility that straddles the often-reductive binaries of literary discourse.
I once heard a story about a biology teacher who asked a student to look closely at a fish, then write a description of it. The student took a good look at the fish, then wrote down everything he could think of to say about it.
After the student had brought back his description, the teacher told him to look at the fish again, and to write another description of it. This time the student took it home and went into real depth about everything he could find out about that species of fish, as well as this particular specimen.
After he had brought back his second description, the teacher told him to look at the fish again and write another description of it.
I proselytize for Tadeusz Różewicz (1921–2014) and his poetic legacy as a new convert, not with unique insight into his importance or his poetics. That I leave to the eleven Polish poets sampled here (and several translators), who can testify better than I can.
I am motivated by a conviction that Różewicz, and the poetry that follows the paths he marked out, should be far better known among American poets — and that as long as we are ignorant of him, we lose something needful for our contemporary poetry. To get acquainted with Różewicz, rush out and buy Sobbing Superpower: Selected Poems (W.W. Norton, 2011), translated by Joanna Trzeciak. To begin to grasp his legacy for Polish poetry — for the world — read on.
In “Book Reviews: A Tortured History,” published in The Atlantic in April 2012, Sarah Fay outlines a modern history of book review culture in which the primary question, as it tends to be today, is whether overly glowing book reviews or completely damning ones are ever productive ways to become aware of or understand literature.