Code as such

The poetry of Stephanie Strickland demonstrates a poetic intelligence that captures not only the lyrical moment in algorithms but also the pervasive quietness of scientific vocabularies. Her work has, thus far, touched on the systems of distributed knowledge — the variegated institutions of knowing, including the natural and virtual geographies into which we embed our cultural memories; the disciplines of mathematics, physics, and astronomy; visual media; and the technologies of language.

Montreal's was a desiring feminism

In a post-riot-grrrl world, it’s hard for those of us who were too young for the theoretical debates of the eighties to understand the amount of collective cognitive labor that was required to move us from feminism’s second wave to its third. We easily take for granted the radical cultural shifts that had to take place for Kathleen Hanna’s emergence on stage with the word ‘slut’ written on her belly to be seen as a populist punk feminist act, until we are kindly reminded otherwise.

Poetry as path, as weapon

How many poetries are there; how many could there be? The poetry of investigation, the poetry of protest, personal poetry, national poetry, international poetry, documentary poetry, poetry of war and peace, emotional, environmental, philosophical, identity poetry. And what’s at the root of all these poetries, if anything?

Against apocalypse

At right: “Phuket after Tsunami (2004)” by Milei Vencel; used with modification under CC Attribution-Share Alike license.

Somewhere along the way, Ron Silliman and his fellow L=A=N=G=U=A=G=E poets earned the reputation for being heartless. In the absence of lines like “I fall upon the thorns of life! I bleed!” and without understanding the historical contexts to which L=A=N=G=U=A=G=E responds, it can be hard for the uninitiated to identify emotional elements. After all, a poetry movement concerned with human rights, poverty, and opposition to violence can’t be entirely without sentiment.

Notes on 'A Mammal of Style'

Let’s begin with the title A Mammal of Style, which of course echoes the Chicago Manual of Style, someone’s notion of the proper and correct way of rendering sensible sentences in the English language. A manual isn’t a book you read, it’s a book you have close at hand — the word means hand, functional and straightforward. This book feels like that.