Christodoulos Makris

Christodoulos Makris is a poet, editor, and curator. He was born in Nicosia (Cyprus) and has lived in Manchester, London, and since 2001, Dublin. His books include Spitting Out the Mother Tongue (Wurm Press, 2011) and the artist’s book Muses Walk (2012), conceived and produced for the project “An Inventory of Al-Mutanabbi Street.” A new book with title The Architecture of Chance is due from Wurm Press in 2014. His poems have been included in several anthologies, and translated into Greek, Russian, Spanish, and Croatian. He is coeditor of Centrifugal: Contemporary Poetry from Dublin and Guadalajara, a bilingual volume of exchanges (translations/versions/re-interpretations) between pairs of poets from the two cities, due out in autumn 2014 from Mexico’s EBL-Cielo Abierto, and cocurator with SJ Fowler of Yes But Are We Enemies, a project and tour (September 2014) focusing on poetry in collaboration between poets in England and Ireland. More at yesbutisitpoetry.blogspot.com and @c_makris.

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Every flower a reminder (PoemTalk #202)

Harryette Mullen, "Chasing Dirt"

PoemTalk

From left: Laynie Browne, Harryette Mullen, Simone White

LISTEN TO THE SHOW

Simone White, Harryette Mullen, and Laynie Browne joined Al Filreis to talk a six-page section of Harryette’s new book Open Leaves. The book, subtitled “poems from earth,” was published by Black Sunflowers Poetry Press of London in 2023. The section discussed by the group is titled “Chasing Dirt” and consists of two epigraphs, a prose-poem paragraph, a mixed media artwork titled Silent Talks by Tiffanie Delune, and a sequence of three-line poems across four pages of four poems each. Since PennSound’s Harryette Mullen author page did not yet include a recording of Harryette performing poems from Open Leaves, we asked her to read “Chasing Dirt” at the start of the recorded session. The pages from Open Leaves are available HERE.

November 20, 2024

The &vs. (andverse) of the Gurlesque

Becca Klaver

Electric Gurlesque, like the first edition of the anthology, is centered on an idea of the Gurlesque as a feminist aesthetic that emerges most prominently in American women’s poetry at the turn of the 21st century. The braided strands of the Gurlesque — which the subtitle of the first edition identified as “grrly,” “grotesque,” and “burlesque”— come together to form one complex aesthetic strategy, and also suggest the diverse avenues of inquiry pursued by the essayists in this section.

The following is the Preface to the Essays from the new anthology Electric Gurlesque published by Saturnalia Books in 2024. The complete anthology can be found here.

November 19, 2024

Anna de Noailles, translated by Chris Mustazza

Charles Bernstein

Anna de Noailles (1876-1933) was one of the most famous French poets of her day. While her work has mostly fallen out of fashion, I’ve opted to translate this poem because it was one of (if not the) first poems ever recorded to sound by a female poet. Her recording at the Sorbonne, made in the early 1920s, causes this ars poetica to realign itself with the performance of the poem rather than the written text. It speaks to pertinent questions of posthumous reception and the archive, through a light, playful, sexual mode: the nachlass as seduction. --Chris Mustazza