A thanks to the poets whose work I got to hear in Portland in 2014. More readings happening this year than any other I've been here: 2013, 2012, 2011, 2010, 2009, 2008&2007.
Adamshick, Carl Alessandrelli, Jeff Armantrout, Rae Arterian, Diana Ashby, Chris
Beer, John Belz, Aaron Bernheimer, Alan Blanchfield, Brian Boldt, Lindsey Borsuk, Amaranth Brewington, Tyler Buuck, David
Carter, Nathan Wade Carty, Bill Clemenzi-Allen, Ben Cobb, Allison Conrad, CA Coolidge, Clark
Dowling, Sara Downing, Brandon Dunbar, Donald
Ferguson, Elizabeth Frey, Emily Kendal
Gamble, Hannah Gray, Robert Duncan Gregory, Jane
Haber, Zack Haley, Jamalieh Handal, Nathalie Hartigan, Endi Bogue Houlberg, Laura Huffman, Jibade-Khalil
Kaupang, Aby Kunin, Aaron
Landers, Sue Larkin, Maryrose Lohmann, Sam
Mac Cormack, Karen Maziar, Paul McCaffery, Steve
Radon, Lisa Rocha, Flavia Ruoff, Lindsay Allison
Schaefer, Standard Schirmann, Kelly Schlegel, Rob Schlesinger, Kyle Schluter, Kit Shaner, Tim Shaw, Anne Sigo, Cedar Sikelianos, Eleni Silliman, Ron Smith, Rich Smuggles, Julian Spahr, Juliana Straw, Timmy Strickland, Stephanie Sullivan, KMA Swenhaugen, Drew Scott
Toliver, Ashley Tran, Stacey Trigg, Nicole
Warren, Alli Wiatr, Zosia Wilkinson, Joshua Marie Woods, Sarah
[spoken: “If I die, I’d like to be in a place where people can come and have a picnic or a barbecue. I wouldn’t be offended if you’re barbecuing around my grave or my headstone; I just want people to know that.” ]
Morgan Myers’sinsightful write-up of “Names of the Hits (of Diane Warren)” got me thinking about Stan Apps’s excellent review of “Rules for Drinking Forties” a couple years back. That may count as navel gazing, but what I like about both is how smoothly they move out from the poems into larger areas of inquiry. For Myers, it’s the poetic virtues of appropriation and the “emotional extremism” we no longer much tolerate in poetry, but allow ourselves in the schmaltzy excesses of pop; for Apps, it’s the process by which the “impure” vitalities of idiomatic speech come to nose their way into the privileged linguistic locker room of the literary and “poetic.” I’m glad for both responses, and for the blogs that still let you read them during workdays at a click.
Morgan Myers reviews“Names of the Hits (of Diane Warren)”, with a bonus analysis of the “blinding crucible of nuancelessness” that is the Emily Dickinson of Pop showing us us. However much you love it, it’ll still love you more.
“In an oral situation, communication takes place within a discrete time. That the listener must be present when the speaker performs is only one aspect of the intense temporality of the speech act. Emphasis, clarity, surprise, and suspense all depend on the speaker’s modulations of his speech in time. When a work is written, however, its tempo no longer depends on the speaker or writer. In fact, tempo virtually disappears. Surprise and emphasis, and most especially clarity, now depend on the transformation of temporal modulations into space. Irregular pauses in the stream of speech become conventionalized by more or less regular spaces between “words.” Dots and marks indicate a hierarchy of special status for portions of text; scripts and capitals indicate a hierarchy of material and meaning. Literacy thus becomes a process of spacializing the once exclusively temporal, and the thought-shaping technology of writing is an index of the development of this process. The higher the degree of conventionalized spacialization in the manuscripts, the less oral and more literate the community.”
Author of Etruria (Wave Books, 2014), Musee Mechanique (BlazeVOX, 2006), and Rouge State (Pavement Saw, 2003). Once wrote an expensive book about I.A. Richards and China. Married Lesley Poirier; lives in Portland, Ore.