Sea shells and torsos in Bella Li’s 'Argosy'

Sometimes writing poems is too much for me. I’ll be in no mood for words or for thinking with any depth on a matter. I cut and glue pictures and patterns instead. Collage is how I shift gears. There is something peaceful about cutting along the edge of an image. I have books on magic and mysteries of the world and Jane Fonda’s workout routine and children’s illustrated history books and books about space and land and science. I have folders where images and landscapes wait for me to find a use for them.

Menacing archives

What kind of archive is the landfill? How do disposable technologies haunt — or annul — the imaginaries of urban ecologies? Landfills and wastelands often preserve more than personal and communal memories: narratives of city development, domestic and global economies, cultural infrastructures, and processes that underpin technological innovations.

Why can't I touch it

“Don’t seek that all that comes about should come about as you wish, but wish that everything that comes about should come about just as it does, and then you’ll have a calm and happy life,” Epictetus advises in the epigraph to Chris Hosea’s second collection, Double Zero.[1] The Stoic maxim is fitting for a collagist like Hosea, whose poetry seeks to capture and present everything stripped of an artificer’s will; the speaker of “Little Salt Book,” for example, remarks that it is “[d]isappointing that books are written by persons” (3

Mega what? — the audio

Does that poet speak any English?  — The answer, with Omar Pérez, is yes.  Quite a bit.  In fact he has translated numerous writers from the English into Spanish (selections by Shakespeare, Komunyakaa and many more), as well as bringing some non-literary material into English from the Spanish for publication in Cuba.  Well why doesn't he just translate his own poems?1

Close listening with Keith Waldrop, 2009

Editorial note: The following has been adapted from a Close Listening conversation recorded November 5, 2009, at the Kelly Writers House for PennSound and Art International Radio. Keith Waldrop was born in Kansas and attended a fundamentalist high school in South Carolina. His pre-med studies were interrupted when he was drafted to be an army engineer.

Cyborg voice, collage joy

NoteI first met Tony Trigilio when we read together at the Sunday Salon, at Black Rock Pub in Chicago. The reading was held on a November evening after tornados had swept through the state. I bring this up because Trigilio’s White Noise, a pseudo-Flarf response to DeLillo’s White Noise, transforms the language of search engines — like the kinds we were obsessively checking that afternoon for information about storm systems and tornados — into the language of poetry.

Desiring visual texts

After swift exchanges at a University of Pennsylvania conference on April 13–14, 2012, Maria Damon, with a practice of weaving and cross-stitch embroidery, and Rachel Blau DuPlessis, with a practice of collage and collage poems, decided to ask each other some questions about this work, their desires to do it and its rationale, given the full-scale scholarly careers that they both have.

'Building a nest out of torn up letters'

James Schuyler has, from the first, been viewed as a consummate poet of the everyday, hailed for his charming, inspiring attentiveness to the here and now.

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