Articles

'An escape from daily pronouns'

S. Brook Corfman’s journal poems and the domestic life of queer gender

Sliver from a pallasite meteorite from Fukang (Xinjiang, China). Image via Wikimedia Commons.

If the self in everyday life is like a jar without a lid, exposed and vulnerable to impacts, tipping over and spilling out, then S. Brook Corfman’s 2020 book My Daily Actions, or The Meteorites, a record of the self in everyday life, endeavors to hold that vessel carefully and watch it overflow: “I traced myself in peppermint oil, for protection. During the storm, each room filled with water, a jar always brimming. An escape from daily pronouns.

'devising of depe renewall'

Caroline Bergvall’s transhistorical translation

Caroline Bergvall at her Kelly Writers House Fellows reading, March 28, 2022. Photo by Kelly Writers House staff.

The Oxford English Dictionary offers eighteen senses for defining translation.

EcoSomatics archive

Field notes from the 2020 EcoSomatics Symposium

Montage of shots from ‘Eco Monsters and Somatic Take-Overs,’ a small outdoor EcoSomatics symposium, Ypsilanti, Michigan, September 2021, shots from a workshop led by Marc Arthur, with symposium participants Charli Brissey, moira williams, Petra Kuppers, Cara Hagen, Stephanie K. Dunning, Stephanie Heit, Biba Bell, Christina Seers-Etters, and Kathy Westwater, all playing with monster addenda, crutch lightsabers, and relational objects.

An assemblage montaged by Petra Kuppers, with Syrus Marcus Ware, Naomi Ortiz, Stephanie Heit, Lori Landau, Carolyn Roy, Christina Vega-Westhoff, Michele Minnick, Denise Leto, moira williams, Catherine Fairfield, andrea haenggi and bull thistle leaf, DJ Lee, Megan Kaminski, Charli Brissey, Bronwyn Preece, Kanta Kochhar-Lindgren, Rania Lee Khalil, and Madeline Kerslake.

An assemblage montaged by Petra Kuppers, with Syrus Marcus Ware, Naomi Ortiz, Stephanie Heit, Lori Landau, Carolyn Roy, Christina Vega-Westhoff, Michele Minnick, Denise Leto, moira williams, Catherine Fairfield, andrea haenggi and bull thistle leaf, DJ Lee, Megan Kaminski, Charli Brissey, Bronwyn Preece, Kanta Kochhar-Lindgren, Rania Lee Khalil, and Madeline Kerslake.

Introduction by Petra Kuppers

What war, huh?

Subjection in/as dissolution in Roger Santiváñez’s poetics, a translator’s note

Panel of winners of el Premio Libro de Poesía Breve, 2011. Image from Hipocampo Editores, via Wikimedia Commons.

By the time Roger Santiváñez published his chapbook Symbol, which is often thought of as marking a turn in his writing toward a neobaroque poetics post-1991, he had come to live in the United States, where he has resided since.

The leftover letter is the missing one

Roger Santiváñez’s 'Symbol,' translated by Judah Rubin

Rimac, Lima, Peru. Photo by Bruno Locatelli/CIFOR, via Flickr.

Translator’s note: Silvia Goldman’s essay was originally published as “Symbol de Roger Santiváñez: La letra que sobra es la letra que falta” in Góngora & Argot: Ensayos sobre la poesía de Roger Santiváñez, an anthology edited by Paul Guillén and published in July 2015 by Collages de aleWendorff. It has been edited lightly for publication in Jacket2 and appears here in translation for the first time. — Judah Rubin