An alien man-boy, Evan Kennedy. Already starting his poetic career with two pretty good books, then with a giant leap comes the third, Terra Firmament. Now another — this time a mega-leap on all fronts — a book he calls The Sissies.
Note: After reading several of George Quasha’s collections of “preverb” poems with great interest, I was intrigued by his development of this new poetic mode, the way it shaped the organization of his work over a substantial period of time and the persistent metapoetic (even metalinguistic) thrust of the poetry. George kindly consented to engage in an exchange, and we limited the discussion to four of his preverb books. The interview took place via email from January 8 to February 23, 2016.
Note: After reading several of George Quasha’s collections of “preverb” poems with great interest, I was intrigued by his development of this new poetic mode, the way it shaped the organization of his work over a substantial period of time and the persistent metapoetic (even metalinguistic) thrust of the poetry. George kindly consented to engage in an exchange, and we limited the discussion to four of his preverb books.
“Poiesis, in the deepest sense, is cosmology.” —Adam Cornford
In addition to poets using science as a source for metaphor, claiming science as a type of poetry, and conducting science as poetry, there are poets who are making science a determining element of their worldview. One such poet, Adam Cornford, whose poetry and critical works intersect with evolutionary biology, physics, cosmology, and more, and who Andrew Joron has called a “cosmo-surrealist,” has said in our recent conversations that his aim is to discursively imagine science as a way to “(re)imagine that which we know, especially that which we know indirectly, that is, by way of instrumentalities and mathematical schemata.”
Toward the end of our interview-discussion with Patti Smith on December 9, 2010 — moderated by Anthony DeCurtis — Smith introduced and played a version of “My Blakean Year.” Here is the first stanza of the song:
In my Blakean year I was so disposed Toward a mission yet unclear Advancing pole by pole Fortune breathed into my ear Mouthed* a simple ode One road is paved in gold One road is just a road
* In the performance this word is apparently “Obeyed.”
The infinity in language
“Poiesis, in the deepest sense, is cosmology.” —Adam Cornford
In addition to poets using science as a source for metaphor, claiming science as a type of poetry, and conducting science as poetry, there are poets who are making science a determining element of their worldview. One such poet, Adam Cornford, whose poetry and critical works intersect with evolutionary biology, physics, cosmology, and more, and who Andrew Joron has called a “cosmo-surrealist,” has said in our recent conversations that his aim is to discursively imagine science as a way to “(re)imagine that which we know, especially that which we know indirectly, that is, by way of instrumentalities and mathematical schemata.”