It was the opening of hunting season in Texas. My insurance agent told me I was the fifth person who called about an accident that early morning. The deer were running everywhere. I had spent a couple of days driving from north central Texas to the southern border along the Rio Grande. I wanted to see the pictographs in Seminole Canyon. I wanted to see the landscape along highway 90 that stretches across the desert of Texas. This was before the immigration crisis. I was writing "PSALM TO WHOM(E)" and was taking notes for the book. It’s always in travel that I find the trail.
Diane Glancy on 50 Miles West of Abilene Texas November 7 2020" |
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Poet Cary Stough: On Some Recent Translator's Notes
"In every translator's note there is a melancholy nostalgia for the harmony we squandered by once being, in those brief moments at the top of the tower, too close to heaven. In the incongruity between languages, also known as misunderstanding, there’s an acknowledgment of a kernel in each lexicon that resists transfer. And in each attempt to smooth out a translated work’s re-telling, there’s an admission of faith in the originality of the author’s text."
via CLEVELAND REVIEW OF BOOKS |
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What Sparks Poetry:
Johannes Göransson on Ann Jäderlund's [Not here]
"The influence between texts seems to flow in mulitple, volatile, anachronistic directions. It’s perhaps even wrong for me to say that the poems are based on Celan’s and Bachmann’s correspondence. The correspondence is one source, but from these letters, Jäderlund’s poetry is brought into contact with Hölderlin, Heidegger, Shakespeare, Rilke and others. Like Manny Farber’s infamous concept of 'termite art,' Jäderlund’s writing 'goes always forward eating its own boundaries.'" |
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