Former Kelly Writers House mainstay Mike Magee organized a Flarf Poetry Festival at the House in February 2007. The festival, which was a part of the MACHINE reading series and was cosponsored by Combo Arts Providence, featured seven prominent Flarf practioners who shared their inappropriate, odd, disturbing, and hilarious works. Gary Sullivan, one of the founders of this avant-garde poetry movement, has said that Flarf can be defined as “A quality of intentional or unintentional ‘flarfiness.’ A kind of corrosive, cute, or cloying, awfulness. Wrong. Un-P.C. Out of control. ‘Not okay.’” Sullivan has also said that Flarf is a verb meaning “to bring out the inherent awfulness, etc., of some preexisting text.” Mike Magee’s take on the movement is slightly different — he conceives of Flarf as a “collage-based method which employs Google searches, specifically the partial quotes which Google ‘captures’ from websites.”
LISTEN TO THE SHOW Maureen Thorson is a poet, publisher, graphic designer, and trade lawyer living in Washington, D.C. Her first book is the haunting and hilarious Applies to Oranges (Ugly Duckling Presse, 2011), recently reviewed in Jacket2.
Peter Cole, Michelle Taransky, and Henry Steinberg join Al Filreis in this episode of PoemTalk to discuss two poems by Charles Reznikoff. One poem is something of an ars poetica, even though, as Peter points out, its status as metapoetry makes it an unusual effort at statement for Reznikoff, who wrote more often as he did in our second poem, which tells of — and apparently means — only what it is and tends to resist larger conclusion.
The first poem is known as “Salmon and red wine” and it appears as section 23 of Inscriptions. The second poem is known also by its first line, “During the Second World War, I was going home one night,” and it is section 28 of part 2 of a series called By the Well of Living and Seeing — a work published in 1969 in a book that brought together that series along with The Fifth Book of the Maccabees. The recording we discuss of the first poem was made at the Poetry Center of San Francisco State University in 1974, although it was written sometime between 1944 and 1956. The recording of the second poem was made when Reznikoff appeared as a guest on Susan Howe’s radio program in 1975. It is a memory of the 1940s.
When Al Filreis and Charles Bernstein founded PennSound in 2003, one of their impetuses was purely pedagogical. They wanted to make a digital audio archive of free, downloadable files of poets reading their own work and of discussions about poetics available to teachers and learners looking to parse out poetic lineages and differences.
As Al Filreis explains in this 2007 podcast, PennSound is an archive for those seeking to make aesthetic connections between different poetic trends: a site of convergence for the reader (in this case, listener) and the poetic tradition. This makes PennSound a particularly useful resourse for teachers who are looking to demonstrate to their students the relationships between contemporary poetry and earlier poetic movements.
On the chance that PoemTalk’s listeners are ever tempted to stop listening after the main conversation and before we “gather Paradise” (make recommendations), we urge you to stay through to the end of this episode in particular — at which point you will hear Cathy Eisenhower’s short list of Washington, DC, venues for readings and gatherings. And we’ll add, here, belatedly, our intention to travel soon down to DC for an on-the-road PoemTalk.
Yes, so Cathy Eisenhower joined us from DC, and Christopher Schmidt from New York, and Katie Price from just down the campus Walk – to talk about one of the prose poems in Jennifer Moxley’s 2007 bookThe Line. Moxley had previously authored Imagination Verses (Salt, 2003), The Sense Record and other poems (Salt, 2003), and Often Capital (Flood Editions, 2005) among other works. We took up The Line because it would seem to enable us to talk about the situation or state of the poetic line — the poetic unit of language, the aesthetic or politico-aesthetic lineage – and we chose “The Atrophy of Private Life” within that book because the meta-poetic sense of “the line” would have to be at best implicit and we wanted to push ourselves to consider a possible critique of the sorry or depressed state of contemporary private life as itself a kind of line (as in ideological line) in such a way that the three senses of “line” — (1) poetic unit, (2) aesthetic lineage, where a poet fits or doesn’t fit, and (3) political stance — might converge unevenly and uneasily yet revealingly.