Al Filreis was joined for this episode of PoemTalk by Evelyn Reilly, Joshua Schuster, and James Sherry to discuss the title poem of Mei-mei Berssenbrugge’s book Hello, the Roses (New Directions, 2013; pp. 58-62). Berssenbrugge’s PennSound page includes two recordings of her performance of this poem. The recording we played before our discussion is from a reading given at Dominique Levy Gallery in New York in March of 2016.
Angela Carr, Anna Strong Safford, and Mytili Jaganathan joined Al Filreis to discuss a poem published in Divya Victor’s book Kith (2017; BookThug/Book*hug). The last section of Kith includes a long alphabetical poem called “Foreign Terms.” The “W” poem in this sequence is “W Is for Walt Whitman’s Soul,” and that is the work we ponder in this episode of PoemTalk. At the autumn 2017 Book*hug launch, Divya chose the read this poem; a video is available.
In this special episode of PoemTalk we discuss a poem by G. Maria Hindmarch, who was at the center of the emerging avant-garde and counterculture literary scene in the early 1960s and later. Maria attended the 1963 Vancouver Poetry Conference, established productive connections with Black Mountain poets among many others; published three books; and made audio recordings as a feminist, materialist, and literary communitarian. The poem we discuss is currently still unpublished; it is titled “Kitsilano (1963–1969).” Karis Shearer, Deanna Fong, and Erín Moure joined Al Filreis in Montreal to make this audio and video recording.
Ted Rees, who recently relocated from Northern California back to his hometown of Philadelphia, and Ariel Resnikoff, who recently relocated from Philadelphia back to his previous home in Northern California, met up at the Wexler Studio at the Kelly Writers House in October to read from and talk about Ted’s new book, In Brazen Fontanelle Aflame.
Jeff T. Johnson, Whitney Trettien, and Amy Paeth joined Al Filreis to discuss a passage (pp. 73–79) from Rachel Zolf’s Human Resources (Coach House, 2007). Human Resources offers a critique of corporate language as inimical to poetic language, yes — and yet Rachel Zolf strongly undoes any such easy distinction. The work insists on the reality of nonsubjective language, managing to coerce this aspect of meaning up to the writing surface so that we can no longer repress its inhumanity even as we inevitably find ourselves seeking the poetry in it.