See my essay "Collage-Mind" at Drunken Boat!
Thanks to Dan Godston for inviting me to send occasional dispatches.
are people who make poetry, whatever that means. I make poetry that
interests me, and trust that my audience is made up of those who are
also interested in what I make. I find my work is strongest and most
satisfying to that audience when I am true to my own priorities and
my own poetics. I do not work with much concern over
"accessibility," which in the context of poetry refers to
whether or not the "general reader" will be able to find
value in the work--maybe through a recognition of cultural allusions
in the content, through emotional resonance or empathy with the
feelings described, or through relating to the experiences of the
poet as narrated in the poem.
Polaroiding in Public
ubiquitous in the wake of the "digital revolution."
Versatile, powerful cameras are standard equipment on devices and
tools from phones to vehicles. These days, no one looks twice at
someone holding their phone or phone-sized camera up in the most
public, everyday places: restaurants, museums, buses and subway
trains, the street, the grocery store, school, etc. A
traditional-looking DSLR--with its "pro" sign value, its
documentary seriousness and its satisfying heft--no longer generates
much interest among spectators.
This post starts an intermittent series of brief essays on poetics and on the practice of poetry. Look for other essays under the series titleThe Querist of Forms.
THE MANY LIVES OF A TEXT
One piece of writing can have many lives. In commercial or academic culture it's been traditional to see the book publication as the end goal--and somehow the "realest" form--of any text. But even the form or version of a text that is printed in a book is not necessarily the final version.