The Nevada-based poet Jared Stanley visited Philadelphia and the Kelly Writers House in April 2017 during a book tour for the release of Ears, which Sam Lohmann in The Volta, has called “a manifesto of interdependence and susceptibility, a theory of the senses, and a deliberate sequence of jokes about lyric address.”
For this episode of PoemTalk, Al Filreis convened Ujjwala Maharjan and Kevin Platt to meet with Nasser Hussain for a discussion of Hussain’s recent project, SKY WRI TEI NGS (Coach House Press, 2018), a book of poems in which words are chosen only from the list of all the world’s three-letter airport codes. The group focused on three poems from the book: “ISL AMO PHO BIA,” “EAT (FOR MIC LEE),” and “STO RIS.”
Samantha Giles visited the Kelly Writers House during her reading tour last December to talk with Jenn McCreary about her new collection, Total Recall, which was published by Krupskaya Press and which Daniel Borzutsky has described as a book that “powerfully and strangely melds autobiography, poetry, ethnography, philosophical inquiry, and testimony.”
Marjorie Perloff, Danny Snelson, and Nancy Perloff convened with Al Filreis at Marjorie Perloff’s home in Los Angeles to discuss John Cage’s mesostic abridgement of James Joyce, “Writing for a Second Time through Finnegans Wake.” Nothwithstanding its status as an intense selection or condensation of the original text, the resulting “writing through” is too long for PoemTalk’s signature “close but not too close reading,” so the group focuses on the opening pages of the Cage text. “Writing for a Second Time,” including the methodological preface, has been published in Empty Words; the pages we discuss (37–42) have been made available through PennSound here.
Al Filreis was joined for this episode of PoemTalk by Evelyn Reilly, Joshua Schuster, and James Sherry to discuss the title poem of Mei-mei Berssenbrugge’s book Hello, the Roses (New Directions, 2013; 58–62). Berssenbrugge’s PennSound page includes two recordings of her performance of this poem. The recording we played before our discussion is from a reading given at Dominique Levy Gallery in New York in March of 2016.