Note: This essay was written after
re-reading the second printing of the original edition of Lew Welch's collected
poems,Ring of Bone, published in
1979 by Grey Fox Press. A new expanded edition, with a preface by Gary Snyder,
was published in 2012 by City Lights.
can I even start to discuss the widespread fascination with poets who die young
and tragically, either by their own direct hand or by the workings of madness
or addiction? What can possibly provide reassurance—to poets, to non-poets—in these
biographies of loss?
I was tagged by my dear friend and collaboratorj/j hastain
to participate in the ongoing blog interview project, "The Next Big Thing." For this project, I am to respond on my blog to the same questions j/j used, then tag five others to do the same on their blogs--or to guest blog here-- each of whom then tag five others themselves. Here, the questions refer to one of my forthcoming books. And I will add names and links to the blogs of the authors I "tag" right here, as they agree to participate:
, process notes
, art practice: issues and challenges
, poetry market
, nicholas alexander hayes
, j/j hastain
, The Next Big Thing project
, Brooklyn Arts Press
, michelle naka pierce
, christine mcnair
Last night I was very privileged to be able to participate in Miguel Gutierrez's performance/movement workshop, "Ineffable Intangible Sensational" atDefibrillator
. It felt transformative in so many ways, and the psychic dust has yet to settle, so to speak. But one thing that I want to comment on immediately is an idea stemming from a conversation we had in a discussion period. I had asked Miguel if he saw teaching workshops as part of his own research process--and what I meant, basically, was whether that kind of teaching was important to his life as a maker of art.
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.
The Last Question
In May 1929, the final issue appeared of the seminal art and literary magazine,The Little Review. It was devoted to the results of a questionnaire that the editors--Jane Heap and Margaret Anderson--had distributed to (as stated) "more than fifty of the foremost men in the arts." As a historical document, it is particularly fascinating, and on several levels. Not only do we get the actual questionnaire and the actual responses, we get photographs of the respondents, and we get an overall picture of some of the feelings, ideas and beliefs of many modernists.
Recently I discovered that a copy of
one of my early poetry chapbooks is available for sale through a
couple of online rare/out-of-print bookselling sites. It's listed
variously as a "signed first edition" and as "collectible."
At first I was highly amused to see my work classified in such ways,
but the more I thought about it, the more I realized that the
descriptions are accurate. The bookiscollectible; it is not
available in brick-and-mortar stores or even on my website.
I subscribe toBOMBMagazine, and in the current issue (Number 118, Winter 2012) I found something good in an interview with artistJohn Miller. He makes some very articulate observations on contemporary circumstances surrounding the profession of artist, and the educational approach that (sometimes) prepares people for that profession. Here's the part of the interview that best resonates for me:
The fundamental problem with being an artist is trying to figure out how to use your time and what to do with yourself.
This is my desk, in my studio.
I'm looking at it. It's full of stuff I've been working on, and tools I've been using in that work. Sometimes it's both enticing and repellant, a place of simultaneously great comfort and great irritation.
I've been spending too much time at it recently, but I've also been spending more time than usual away from it this past week. I've been seeing friends, going to poetry readings and performances, being more social and less studio-bound. But it's still largely poetry/art-oriented activity.
In the May '11 issue ofArt in America, the "Roundtable" regular feature focuses on a panel discussion moderated by Douglas Dreishpoon, who's chief curator at my old hometown haunt, theAlbright-Knox Art Gallery(AKrepresent!). Titled, "Artists in a Parallel Universe," this piece addresses an issue that every artist faces, even at times struggles with, but is sometimes loath to discuss. The panel discussion, excerpted and transcribed, involves five noted artists (Petah Coyne, Philip Taafe, Vija Celmins, Robert Gober and Janine Antoni) with varying practices, all basically answering the question in the title above.