A conversation between Joseph Harrington and H. L. Hix
Joseph Harrington and H. L. Hix have perceived their work as being “in conversation” for quite some time, so the strength of their shared sense that Harrington’s recent Disapparitions and Hix’s Moral Tales were intent on listening in related ways led them to formalize their conversation. The result is the following inquiry into attention, attunement, genre, and other matters of writerly — and human — concern.
Joseph Harrington and H. L. Hix have perceived their work as being “in conversation” for quite some time, so the strength of their shared sense that Harrington’s recent Disapparitions and Hix’s Moral Tales were intent on listening in related ways led them to formalize their conversation. The result is the following inquiry into attention, attunement, genre, and other matters of writerly — and human — concern.
First reading of Lorine Niedecker's 'Popcorn-can cover' (4)
Xavier Kalck
The bigger picture obscures the actual one. I have to wonder, am I looking at a product of Imagism? This poem seems concrete, simple and based on direct observation. Is it Objectivist? There is sense of clarity countered by ellipsis as sound abstracts the image from its context, so yes as well. What about Surrealism? A trivial domestic object is endowed with uncanny — pun intended — (possibly sexual) significance. associated with distinct specularity (it seems I am looking at an interiorized interior). The list could go on. Does the sense of rural poverty implied in the makeshift device make it a rural poem?
Popcorn-can cover
screwed to the wall
over a hole
so the cold
can’t mouse in
— Lorine Niedecker