Editorial note: A live version of this interview took place at the 2012 Congress of the Canadian Federation of the Humanities and Social Sciences in Waterloo, Ontario. At a Congress event cosponsored by the Canadian Association for Commonwealth Literature and Language Studies (CACLALS) and the Association for Canadian and Quebec Literatures (ACQL), M. NourbeSe Philip read her poetry and was interviewed by Phanuel Antwi and Veronica Austen. The theme of Congress 2012 was Crossroads: Scholarship for an Uncertain World.
Editorial note: On April 23, 2007, Steve Evans visited the Kelly Writers House in Philadelphia and spoke with Al Filreis about the ways in which digital audio recordings of poetry were changing and would change the way poetry is taught and studied. The audio recording of that discussion, aptly, was made available almost immediately — the full discussion and also an edited version as an episode in the PennSound podcast series. As of the publication of this transcript, the discussion is nearly five years old. How many of the questions raised in this conversation have been answered through recent experience? Few, somewhat surprisingly. The transcript has been prepared by Michael Nardone. — Al Filreis
Editorial note: Heather Fuller is the author of three books of poetry, Startle Response (2005); Dovecote (2002); and perhaps this is a rescue fantasy (1997), and two chapbooks, Eyeshot (1999) and beggar (Situation Magazine, 1998). Melanie Neilson is the author of Natural Facts (1997), Civil Noir (1991), and Tripled Sixes/Prop and Guide (1991), in collaboration with Michael Anderson. Double Indemnity Only Twice is forthcoming in 2013 from theenk Books. The following is a transcript of Episode Nine of PhillyTalks, which took place on February 10, 1999.
Note: I am a professor in global liberal studies at New York University, a new four-year BA program that, wanting to be known for its teaching, indulges its faculty in their pedagogical experiments. In spring 2012 I put together a seminar with the loud title Poetry and Globalization. The one thing my seminar was emphatically not about was poems about globalization. Rather, I meant to study the encroachment of modern Western poetics into societies where poetry depends on technologies other than print, and performs other functions than it does in the West. In other words, it was about the relativity of values, about the way values are deformed in translation, about the roles of performance and of social context.