I bet any poet of conscience who doesn’t actively write about sociopolitical subjects knows this feeling, but the poet is trying to write the original thing, and that originality might not take up orbit around a more obvious facet of a poet’s identity. When any of us doesn’t take on such a subject in our writing, it might not be because we neglected to do so. Rather, it might be that the subject informed every bit of our deciding to write about something else.
Two new poems in La Fovea thanks to Whit Griffin and Virginia McLure.
I had a great time reading two Sundays ago thanks to Daniel Coudriet, Asher Lewis, Angelo Colavita, and Debrah Morkun.
Daniel read from his amazing book Say Sand, which I highly recommend picking up.
Debrah, who hosts Jubilant Thicket, just had her second book, The Ida Pingala, come out from BlaxeVOX. It is also a must-read.
The Jubilant Thicket reading was a little different for me because I read completely from memory for the first time. I started memorizing my poems as part of my revision process last Spring. It’s one of the final stages of revision for a lot of my new work.
Memorizing the poems isn’t that hard- in fact, I realized that I had already memorized most of them by working on them so much. Reciting the poems on runs, drives, while cooking, etc really helps smooth rough edges. Like a rock tumbler.
A nice side effect is that when it comes time for a reading, I pretty much have everything memorized.
Also: I saw an air whale this Thanksgiving.
I am thankful for air whales.
I’ll be reading Sunday, November 13th in Debrah’s Jubilant Thicket Series.
Daniel Coudriet and Asher Lewis will also be reading.
Starts at 7 pm at the Walking Fish Theatre in Fishtown.
I’ll have copies of DESERT SUITE available. DESERT SUITE is an ephemeral chapbook composed of five “filmic” poems set in the desert. Hand bound and hand burnt by me, DESERT SUITE barely exists.
2RXF6 ASSEMBLY INSTRUCTIONS
1. To intall (2) and (5) below of (6) by (1).
2. To assemble (6)(9) by using componets (3)(4).
3. To fix (13) and (16) into (12) by (14).
4. To assemble (9)(12)(15) by using components (7)(8).
5. To fix (17) from top of (10), then put the (10)on the (9).
6. The revolving (17) can be fixed position on (11), when press down (11), you can revolve (17) to anothe side.
PARTS
17: Dry erase board (1set)
16: Hexagonal bolt (1pc)
15: Lower cross bar (1pc)
14: Screw (5pcs)
13: Pen tray (1pc)
12: Upper cross bar (1pc)
11: Button (1set)
10: Plug (6pcs)
9: Vertical tube (2pcs)
8: Washer (8pcs)
7: Screw (8pcs)
6: Foot tube (2pcs)
5: Wheel casters (2pcs)
4: Arc washer (2pcs)
3: Screw (4pcs)
2: Brake caster (2pcs)
1: Wrench (1pc)
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(All the above is actual, even the typos).
Finished a chapbook called FISH NOT FISH. 24 prose poems. Going to submit it places.
Finished something called DESERT SUITE and made a chapbook for it.
20 copies of DESERT SUITE have been printed & cut, but still need to be bound.
The covers have burn marks. I burned them.
WILLIAM is still forthcoming from con/crescent.
MARSH SUITE keeps growing.
Some poems will appear in the future in Wheelhouse and Apiary.
Really though, I need to submit things places.
3 poems and a statement of poetics up at Elective Affinities.
It was kind of a big deal for me to write a statement of poetics.
I mean it took me a long time. And I tried really hard.
Make sure you read the other work at Elective Affinities.
It’s a generous space to read.
Lately I’ve been seeing walls I last saw as a child.
Perception is always an embrace.
THROUGH LINE sometimes also called the crack, was first suggested by Constantin Stanislavski as a simplified way for actors to think about characterisation. He believed actors should not only understand what their character was doing, or trying to do, (their objective) in any given unit, but should also strive to understand the through line which linked these objectives together and thus pushed the character forward through the narrative.
