Rather than highlight a specific poem, poet, reading, or series this week, I want to showcase a city. And this isn’t just any city. This is Boise, Idaho — my hometown. Mentioning the city elicits many of the same questions and reactions, so let’s get those out of the way right now. Yes, there are potatoes, but no, we don't eat them all of the time. The city is actually in the West, not the Midwest (Boise is further west than Las Vegas, and you probably mixed it up with Iowa). And yes, Boise State University has the blue turf, and we all saw the 2007 Fiesta Bowl game. The one question I never get asked, however, is “How is the poetry in Boise?” It's a shame that I never get to answer this question too, because there is a strong and vibrant poetry community in Boise, with BSU as its center.
A few days ago, the Poetry Magazine Twitter (@poetrymagazine) tweeted a rather simple link to an excerpt from their February 1964 issue, featuring six poems by Larry Eigner. Tweeting links to poems in old issues is fairly standard practice for @poetrymagazine, but the Eigner feature made me think back to some of the truly great video features on PennSound: The Larry Eigner “Sacred Materials” recordings, and The Cloud House Poetry Archives, which was generous enough to make these recordings of Eigner available.
One the real perks of living in Austin is the live music, and in April, I was fortunate enough to see Patti Smith in concert— and even though she is 66 years old now, she was spectacular. After a two hour set (including an encore), I was floored that the original punk-poet-goddess could still embody so much of the artistic anti-establishment energy almost forty years after she first came on the scene. But it also made me reflect on the long relationship between poetry and punk music, and what their intertwined history in the 1970's could mean.
My very first assignment when I joined the PennSound team was to segment a recent reading by Christian Bök at the Kelly Writers House. It seems only fitting to start my “Notes from PennSound” commentary by returning to audio file that I cut my teeth on as I learned the ins and outs of PennSound's infrastructure, and to an author that has been unavoidable in discussions concerning performance, sound, experimentation, technology, word play, computational composition, 'pataphysics, unintentionality, intentionality, and semi-intentionality.
Notes from PennSound