Note: The following is part of a larger conversation examining Ted Pearson’s An Intermittent Music, a serial work begun in 1975 and completed in 2010. The second half of this interview will also appear in Jacket2.
A previous interview, conducted in fall 2008, appears in Hambone 19, available through Small Press Distribution.
Bruce Andrews on April 12, 2008. Photo by Charles Bernstein.
Editorial note: Bruce Andrews (b. 1948) is the author of more than thirty books of poetry including Edge (1973), I Don’t Have Any Paper So Shut Up (Or, Social Romanticism) (1992), Lip Service (2001), and Swoon Noir (2007). He is also the author of numerous essays on poetry and coeditor of L=A=N=G=U=A=G=E. Andrews teaches political science at Fordham University. The following has been adapted from a LINEbreak conversation recorded in Andrews’s New York apartment in 1995 and transcribed by Michael Nardone.
Eiríkur Örn Norðdahl [left] and Cris Costa [right].
Editorial Note: This interview is part of a feature curated by a.rawlings; entitled “Sound, Poetry,” it began with a request for material on sound poetry as it is currently being practiced in northern Europe. “Sound, Poetry,” however, accomplishes so much more than reportage.
Johanna Drucker gives a talk at Steve Clay’s home. Photo by Julie Harrison.
Note: On March 16, 2011, artists’ book author, publisher, and critic Johanna Drucker gave a reading/performance entitled “How Some Poems Are Made” as part of the Threads Talk Series put on by Granary Books editor Steve Clay at his apartment/publishing house in SoHo (a complete audio recording of the talk and Q&A session is available on PennSound). In her talk, Drucker examined “the relation between production means and aesthetic expression.” Afterward, poet Leo Genji Amino asked her a few questions about the very means of production that had delivered her talk, and the particular aesthetic encouraged by that delivery.
Editorial Note: This interview is part of a feature curated by a.rawlings; entitled “Sound, Poetry,” it began with a request for material on sound poetry as it is currently being practiced in northern Europe. “Sound, Poetry,” however, accomplishes so much more than reportage. Poets from Iceland, Belgium, Finland, the Netherlands, and the United Kingdom converse with a broad array of Canadian interlocutors; some have even created new work together specifically for this feature.
