Note: In May 2015 Jace Brittain and Rachel Zavecz interviewed me about my third book, Starlight in Two Million: A Neo-Scientific Novella (Noemi Press, 2014). The book combines narrative fiction — in which three characters, two of whom are named for Greek concepts, join forces to stop a war — with lyric poetry, visual poetry, and memoir.We discuss the book’s cross-genre form, ’pataphysics, quantum poetics, fourth-person narration and the fourth dimension, and more. In addition to talking with me about Starlight in Two Million, Jace and Rachel wrote a collaborative review of the novella for the online arts magazine, Queen Mob’s Teahouse. — Amy Catanzano
When new acquaintances ask what I study, I often tell them, “poetry that doesn’t look like poetry.” Though my response might seem glib, the sentiment is sincere: I find myself drawn to poetry that unshackles that same term from its traditional denotation. The field of modern and contemporary poetry is full of language that doesn't behave: fixed forms are abandoned for open fields, words are rendered illegible, standardized grammar is disrupted, letters stray from counterparts that would give them meaning, the page is replaced by the screen, and nonsemantic sounds fill basement bars. So why do we still call it poetry? — Katie L. Price
I often think of quantum mechanics as the most conceptually radical of the breakthroughs in theoretical physics to emerge in the last and current century, in part due to its claim that physical reality cannot be definitively observed. The claim challenges Isaac Newton’s classical mechanics and the scientific method, which assumes that physical reality can be measured without ambiguity, and principles of nature can be determined with certainty.