Editorial note: The following conversation is from Close Listening, a program hosted by Charles Bernstein and produced by Clocktower Radio, in collaboration with PennSound, on June 18, 2013, at Studio 215 in New York. It was transcribed by Mariah Macias and subsequently edited for publication. The conversation, between Charles Bernstein and Tonya Foster, discusses Foster’s then-forthcoming poetry collection, A Swarm of Bees in High Court (Belladonna*, 2015), as well as topics surrounding Foster’s writing process and African American poetry communities such as Umbra and Cave Canem.
Editorial note: The following conversation is from Close Listening, a program hosted by Charles Bernstein and produced by Clocktower Radio, in collaboration with PennSound, on June 18, 2013, at Studio 215 in New York. It was transcribed by Mariah Macias and subsequently edited for publication. The conversation, between Charles Bernstein and Tonya Foster, discusses Foster’s then-forthcoming poetry collection, A Swarm of Bees in High Court (Belladonna*, 2015), as well as topics surrounding Foster’s writing process and African American poetry communities such as Umbra and Cave Canem.
Photos of Gail Scott (left) and Jane Malcolm (right) courtesy of the authors.
Note: The following conversation unfolded over a couple of warm, sunny months in Montreal. I was inspired to interview Gail on the occasion of her recent retirement from the Université de Montréal, where she taught creative writing for fourteen years and was a cherished colleague and mentor to me and many others.
Note: The following conversation unfolded over a couple of warm, sunny months in Montreal. I was inspired to interview Gail on the occasion of her recent retirement from the Université de Montréal, where she taught creative writing for fourteen years and was a cherished colleague and mentor to me and many others. One night, over a lovely dinner, Gail and I began talking about her dual role as Montreal writer and experimental novelist and about the many life experiences that accompanied her engagements with Quebec feminism, New Narrative, and Language poetry.
Note: Victor Bockris and Andrew Wylie conducted a series of interviews with numerous contemporary American poets during the early 1970s, published in various venues. The playful style of the interview with Weatherly is typical of these. (These interviews were collected for a book to be titled The Life of Poetry in 1973, but the book never appeared in print.
Note: Caleb Beckwith and I have been corresponding about poetry, poetics, and poetry community since becoming friends sometime in 2015, shortly after he moved to the Bay Area from Philadelphia. Late in 2018, I suggested we have a more formal conversation about his new book, Political Subject, recently released from Roof Books.
Note: Caleb Beckwith and I have been corresponding about poetry, poetics, and poetry community since becoming friends sometime in 2015, shortly after he moved to the Bay Area from Philadelphia. Late in 2018, I suggested we have a more formal conversation about his new book, Political Subject, recently released from Roof Books.
Note: Lauren Levin and Samantha Giles live and work in a loosely affiliated social, political, and aesthetic scene in the Bay Area. Nether Giles or Levin has any academic affiliation, but both have continued to participate in the professionalization of poetry as curators, as publishers, and as people who write books.
Note:Lauren Levin and Samantha Giles live and work in a loosely affiliated social, political, and aesthetic scene in the Bay Area. Nether Giles or Levin has any academic affiliation, but both have continued to participate in the professionalization of poetry as curators, as publishers, and as people who write books.
