Editorial note: Maggie O’Sullivan (b. 1951) is a poet, artist, editor, and publisher. She is the author of over fifteen books, including Concerning Spheres (1982), A Natural History in 3 Incomplete Parts (1985), States of Emergency (1987), Palace of Reptiles (2003), Body of Work (2006), and most recently ALTO (2009). She also edited the anthology Out of Everywhere: Linguistically Innovative Poetry by Women in North America and the UK(1996). The following has been adapted from a Close Listening conversation recorded on October 11, 2007, at the Kelly Writers House at the University of Pennsylvania. The conversation was transcribed by Michael Nardone and edited by Charles Bernstein. Listen to the audio program here. —Katie L. Price
Editorial note: Geof Huth is perhaps best known for his innovations in the field of visual poetry, though he has produced considerable textual and aural work as well as critical and archival endeavours. Recent projects include 365 ltrs, a daily online writing experiment, and his regularly updated blog on visual poetics. Huth’s latest books are Aution Caution (Redfoxpress, 2011), NTST (if p then q, 2010), and Texistence: 300 Pwoermds (with mIEKAL aND, Createspace Independent Publishing Platform, 2008). This interview with Gary Barwin and the poet took place on October 1, 2011, in St. Catharines, Ontario, before Huth’s reading for Grey Borders, and was originally transcribed by Kate Herzlin. — Kenna O’Rourke
Editorial note: Camille Roy writes plays, poetry, and fiction. She is often associated with New Narrative and teaches creative writing at San Francisco State University. She is the author of several books, including Sherwood Forest (2011), The Rosy Medallions (1995), and Cold Heaven (1993). She also edited Biting the Error: Writers Explore Narrative (2004) with Gail Scott, Mary Burger, and Robert Glück. Biting the Error was reissued in 2010. Michael Cross lives in Oakland, California, where he studies contemporary poetry.
Lisa Jarnot’s magisterial work on the life and times of Robert Duncan, The Ambassador from Venus, is an important and much-needed text. Apart from being the only full-length biography of the poet, it is a rich and dense document of literary and cultural criticism, which places Duncan within larger social and historical contexts. As literary biographies go, it merits comparison with some of the best: Richard Ellmann’s James Joyce, Hugh Kenner’s The Pound Era, and Hermione Lee’s Virginia Woolf come to mind.
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.