Gabriel Ojeda-Sagué and Jonathan Dick joined Al Filreis to discuss Hart Crane’s “The Harbor Dawn.” It's the third poem-section of The Bridge, Crane’s 15-canto poem. Crane began composing The Bridge in 1923 and it was published by Black Sun Press in 1930. We don’t alas have a recording of Crane reading this poem; nor do any recordings of Crane survive. But PennSound’s Hart Crane author page includes two of Crane’s poems as performed by Tennessee Williams! So before our discussion began, we listened to Williams's transatlantic/southern American inflection.
PoemTalk went on the road again, this time to Chicago, where Al Filreis convened Lisa Fishman, Gabriel Ojeda-Sagué, and Laynie Browne at the Poetry Foundation. Before a lively live audience, the four discussed seven short poems selected from Lisa Fishman’s recent book Mad World, Mad Kings, Mad Composition (Wave Books, 2020). They are: “Many People have heard” (51); “Others could tell the difference” (65); “Have sent a point” and “Who will confess that …” (73); “Taking a sick day to remember Mr. Fishman” (149); “A line through a forest” (150); and “Steering-wheel-in-the-field” (163).
Illustration by Alfred Concanen from ‘Broadstone Hall, and other poems’ (1875) by William Edward Windus, via the British Library.
I tasked myself with saying one or two things I know about grief and loss and why so many people feel the compulsion to write through them. As an essential motivation for writing, especially poetry, loss events appear to make us both speechless and verbose. I’ve been there, I keep being there. I’ve written a “grief book” a few times now and frankly, I can’t say I find that its product is catharsis or repair.
Al Filreis convened Eric Sneathen, Gabriel Ojeda-Sagué, and Trisha Low to talk about a poem by the late and much-missed Kevin Killian. The poem is “Is It All Over My Face?,” and it was published in the book Action Kylie. Kevin performed this poem several times; at a certain point in his readings, it was a favorite poem to share with his audiences. Our recording comes from his reading at the Queering Language launch reading, March 24, 2007, and can be found, with many other great Killian performances, at PennSound’s Killian author page. The text of the poem is here.
Al Filreis convened Imaad Majeed (in Colombo, Sri Lanka), Irene Torra Mohedano (in Paris, France), and Gabriel Ojeda-Sagué (in Chicago, USA) to talk about William Carlos Williams’s “By the road to the contagious hospital,” the well-known first poem in the disjunctive, manifesto-like, nonsequential sequence called Spring and All, first published in Paris in 1923. Was this a poem recalling the recent, desperate time of the Spanish flu pandemic? Can “Spring and All” teach us something about our own birthing springtime, emerging eerily without us this time around? Why is this poem taught in medical schools? How lifeless is a thing “lifeless in appearance”?
Sawako Nakayasu, Donato Mancini, and Gabriel Ojeda-Sague joined Al Filreis to talk about two poems by Sueyuen Juliette Lee. The poems were published in a chapbook titled Perfect Villagers (2006) and later collected in That Gorgeous Feeling (2008). “Dear Margaret Cho” (actually one of two poems of that title) and “Daniel Dae Kim” were among the pieces from the “perfect villagers” series performed by Lee in a reading she gave at the Kelly Writers House in January of 2007. The recording can be found at Lee’s PennSound page.
Anemal Uter Meck begins with an amnesiac transformation, the “anemal”/animal of the title seen immediately in the dedication “for raptors everywhere,” and in the first lines of the book: “you forget you were someone/something / else. you forget your beak. your.”[1] We may start there, but we certainly do not rest there.
Anemal Uter Meck begins with an amnesiac transformation, the “anemal”/animal of the title seen immediately in the dedication “for raptors everywhere,” and in the first lines of the book: “you forget you were someone/something / else. you forget your beak. your.”[1] We may start there, but we certainly do not rest there. Mg Roberts moves quickly between a fistful of strands and conversations, never showing the whole of them.
Note: On December 11, 2016, I talked with authors Eric Sneathen and Lauren Levin over Google Docs. Eric was in a café in the Bay; Lauren was also in the Bay, in bed with their daughter running in and out of the room; and I was sitting at my dining table in Philadelphia. Eric and Lauren are the two newest authors of the small press Krupskaya, which has published their books Snail Poems and The Braid (respectively). Both of these books were their debuts.
Note: On December 11, 2016, I talked with authors Eric Sneathen and Lauren Levin over Google Docs. Eric was in a café in the Bay; Lauren was also in the Bay, in bed with their daughter running in and out of the room; and I was sitting at my dining table in Philadelphia. Eric and Lauren are the two newest authors of the small press Krupskaya, which has published their books Snail Poems and The Braid (respectively). Both of these books were their debuts.
Simone White, Kyoo Lee, and Gabriel Ojeda-Sague joined Al Filreis to discuss a passage from Claudia Rankine’s Don’t Let Me Be Lonely: An American Lyric. The discussion follows Rankine's extrordinarily synthesis of various huge issues: illness and death, memory loss and the misery of forgetting, the ubiquitous frame-setting of television, incarceration, police violence, useful and useless language, antidepressants, and the poem as a social assertion of “here.”
I am taking a flight home to Miami today. I’ve already read a PDF of Angel Dominguez’s Black Lavender Milk while at school in Philadelphia, but now I’ve got the physical thing in my hand, printed in blue letters, and I have a chance to read it the way it was written: on a plane home.
