Editorial note: The following conversation has been adapted and edited from episode 15 of PoemTalk, recorded March 9, 2009, at the University of Pennsylvania in Philadelphia, and transcribed by Michael Nardone. In this episode, PoemTalk host Al Filreis discusses Lyn Hejinian’s “constant change figures” with Thomas Devaney, Tom Mandel, and Bob Perelman. Listen to the show here. — Katie L. Price
Al Filreis: I’m Al Filreis, and this is PoemTalk at the Writers House, where I have the pleasure of convening friends in the world of contemporary poetry and poetics to collaborate on a close, but not too close, reading of a poem. We’ll talk, maybe even disagree a bit and perhaps open up the verse to a few new possibilities, and, we hope, gain for a poem that interests us some new readers and listeners. And I say “listeners” because PoemTalk poems are available in recordings made by the poets themselves as part of our PennSound archive.
Today, I’m joined here in Philadelphia in the Arts Café of the Kelly Writers House by: Thomas Devaney, poet, critic, teacher, reviewer extraordinaire, whose latest book of poems is A Series of Small Boxes; and by Bob Perelman, long-time Penn colleague from the Bay Area, of course, before that, author most recently of a book of poems Iflife, published by Roof Books, which we celebrated here at the Writers House when it came out, and recorded the reading for Bob’s great PennSound page, to which I happily direct everyone within earshot; and by Tom Mandel, one of the early language poets and the author of fifteen books. Tom studied with Hannah Arendt and Saul Bellow on the University of Chicago’s Committee on Social Thought, and taught at the U of C, the University of Illinois, and San Francisco State, where he was Director of the Poetry Center. How many years, Tom?
Note: The Text Festival in Bury, UK, is an internationally recognized event investigating contemporary language art (poetry, text art, sound and media text, live art). Against the background of global stylistic multiplicity, the use of language spans many artforms and may even be a unifying field of enquiry, a new definition and a new field of international linguistic art practice and dialogue.
Editorial note: Kiki Smith (b. 1954) is an artist, sculptor, and printmaker. Her work can be seen or has been shown in countless museums, including the Metropolitan Museum of Art, the Smithsonian American Art Museum, and the Los Angeles Museum of Contemporary Art. An exhibition of her work Prints, Books and Things, ran at the New York MoMA from December 5, 2003 to March 8, 2004, and was followed by an interactive website. The following conversation focuses on Smith’s collaboration with poet Leslie Scalapino, The Animal Is in the World Like Water in Water (2010). A digital facsimile of the book is available from Reed Digital Collections. The show originally aired on KAOS 89.3 FM as part of Cross Cultural Poetics on February 6, 2011. The following was transcribed by Michael Nardone. You can listen to the full recording of the program at PennSound here. We would like to thank Kiki Smith and The Pace Gallery for permission to publish this interview. — Katie L. Price
Leonard Schwartz: Today’s guest, on the phone from New York, is Kiki Smith. She is an internationally known artist working in multiple mediums. About her work, it has been written, “Smith represents the female body as one of resistance and transgression. Her women reject the graceful refined poses of Western statuary, and startle by performing extremely private acts in a remarkably public and matter of fact manner.” The work of Kiki Smith’s I’d like to talk about today is a collaboration she’s done with the poet Leslie Scalapino: The Animal Is in the World Like Water in Water, published by Granary Books in an edition of forty or forty-five copies. We have one copy here at the Evergreen State College in our rare books room. Welcome, Kiki Smith.
Editorial note: Ted Berrigan (1934–1983) was the author of several books of poetry, including The Sonnets (1964), Nothing for You (1978), Easter Monday (1978), and A Certain Slant of Sunlight (1988). He also wrote a novel, Clear the Range (1977). His poems were collected in The Collected Poems of Ted Berrigan by University of California Press in 2005.