200! This is the 200th monthly episode of PoemTalk. To mark the occasion, we celebrated Evie Shockley with a day of events and recordings and conversation and it was all informally dubbed “Evie Day.” Before a live audience in the Arts Café of KWH we talk about two of Evie’s poems: “My last modernist poem, #4 (or, re-re-birth of a nation)” from The New Black; and “studies in antebellum literature (or, topsy-turvy)” from Semi-automatic. Evie’s expansive PennSound page happens to include recordings of her performing both of these poems, but since we were feeling the honor of having Evie there with us in person, we asked her if she wouldn’t mind reading these poems. She did, and you'll be hearing them as part of the PoemTalk discussion after the introductions. It was the annual gathering of a group that had been meeting for some years: Aldon Nielsen, William J. Harris, and the late and much-missed Tyrone Williams.
October 11, 2024
Reading Resistance at the Olympic Tent Village
A conversation with Mercedes Eng
Jules Boykoff
In my last post I wrote about poets’ involvement in activism around the 2010 Winter Olympics in Vancouver. One poet who was active during the Olympics moment was Mercedes Eng.
Mercedes Eng explores racialized oppression — locally, on the West Coast, nationally, and internationally — and how this oppression is underpinned by colonizing language and racist representation. Her first chapbook, February 2010, is a poem set in the context of the Vancouver 2010 Winter Olympics and is a thinking through and responding to the media and advertising, censorship, art, nationalism, diversity of tactics, and First Nations land rights. Her second chapbook, knuckle sandwich, juxtaposes text from local mainstream media coverage of the missing and murdered women of Vancouver with reportage of the Canadian “liberation” of women in Afghanistan in order to explore state violence against racialized women. She works collaboratively with Press Release and Standard Ink & Copy Press poetry collectives. A current creative project considers her lived experience with sex-work in the Downtown Eastside of Vancouver, using non-standard English to explore and to resist the ways in which victimhood is constructed.