Thomas Meyer

Navigating distance in locality

An interview with Tom Patterson, featuring photographs by Jonathan Williams

Andy Martrich
Tom Patterson
Photo of Tom Patterson taken by Jonathan Williams in 1980 at the Ocmulgee National Monument. Courtesy of Tom Patterson.

I initially reached out to Tom Patterson in June 2019 with a research inquiry related to poets practicing in the American South during the late 1970s and ’80s. Although he’s now known primarily as a writer on contemporary art and an independent curator, Tom has served in multiple roles with small poetry presses over the years, perhaps most notably as the executive director of the Jargon Society from 1984–87, where he led Jargon’s Southern Visionary Folk Art Preservation Project. 

Note: I initially reached out to Tom Patterson in June 2019 with a research inquiry related to poets practicing in the American South during the late 1970s and ’80s. Although he’s now known primarily as a writer on contemporary art and an independent curator, Tom has served in multiple roles with small poetry presses over the years, perhaps most notably as the executive director of the Jargon Society from 1984–87, where he led Jargon’s Southern Visionary Folk Art Preservation Project.

June 17, 2020

Fits of imagination

A review of Thomas Meyer's 'Beowulf'

Courtney Rydel

In being caught between two times, that of composition and circulation, Thomas Meyer’s translation finds itself in harmony with its source text. Meyer translated Beowulf in the 1970s, after completing a 1969 senior thesis at Bard translating the rest of the surviving Anglo-Saxon poetic corpus. Our introduction to Meyer’s electric translation, however, is more recent, as it was released by punctum books, an open-access and print-on-demand publisher, only in 2012.

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