Saturday, June 30, 2012
Friday, June 29, 2012
Thursday, June 28, 2012
Wednesday, June 27, 2012
Frank Sherlock, Rachel Blau DuPlessis & Bob Perelman
join Michelle Taransky in discussing
my poem “You” & the essay “Wild Form”
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Tuesday, June 26, 2012
An international poetry festival is a little like one of those lab experiments that science students are forced to perform. Take a creature that does one thing well – make art with their language – and put them into a container with other creatures who seem similar enough, but lack that one key common element – a mutual language. The possibilities are more or less obvious, and the folks in Rotterdam earlier this month were blessed with the fact that all 19 of their on-site participants¹ were actually nice people. One of the festival officials joked that this was an “innovation” they were trying this year, and that it had not always been the case in prior years.
It’s not an accurate statement that the poets lacked the same language. Eighteen of the 19 spoke at least some version of English, and four of us – Karen Solie of Canada, LK Holt of Australia, Sascha Aurora Akhtar of Pakistan & Britain, & I – use variants of it for our writing. With language, of course, history comes encrusted. When Moosejaw-born Karen Solie lists manufacturers of tractors in her work, US companies like John Deere turn up. And I heard Australian Lucy Holt asked on at least one occasion if she was British
Labels: history, language, Other traditions, translation
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Monday, June 25, 2012
Book burning: fan fiction
Barry Schwabsky on the return of Denise Riley
Talking with Sina Queyras
Queyras: the ethics of the negative review
How international is poetry?
Tim Yu makes the case for Asian-American poetry
Harryette Mullen wins the Stephen Henderson Award
Otherstream poetics
The academisation of the avant-garde
Anne Gorrick: Text Event with Fire 2
Heaps of language but even more amnesia
A new poetry barn in Maryland
The Etherdome anthology
CWILA: Women in Canadian lit mags – the numbers
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Sunday, June 24, 2012
Wandering in to the Submarine Warehouse in Rotterdam,
I found this:
carillon master Frank Steijns and a colleague on organ
performing an arrangement of
John Cage’s Litany for the Whale
An entire performance of the piece by Steijns
Labels: Carillon, John Cage, Personal
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