| I don’t know that I have much to add! I’m fascinated to imagine the moment when poets first asked whether it could be worthwhile for the art they practiced to tarry with the nascent technology of writing. And I’m fascinated by catastrophe! And culture! And what people had for breakfast! Which are all the same thing, maybe! Ian Dreiblatt on "forget thee" |
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"Correspondences: On Claire Schwartz’s Civil Service"
"Confession is a fundamentally relational mode—a relation which is not always (or perhaps even not usually) entirely consensual, and whose dynamics are governed by asymmetries in, among other things, knowing. And of course, power structures like a state exploit such modes, forcefully imposing relations via confessionalism which both acquire, and build borders around, knowing."
via TRIQUARTERLY |
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What Sparks Poetry:
Cindy Juyoung Ok on Kim Hyesoon's "After All the Birds Have Gone"
"Stanzas and whole poems refuse the unit of the sentence, creating new syntax and refusing to designate themselves relevant to the constructs of past, present, or future. Kim’s is a poetry of present aftermath—of the annihilation absolute but not completed, of the past yet also ongoing. Although the source text of 'After All the Birds Have Gone' is in the present tense, its frame of reference is of survival, invoking the past, while the implied conditional hints at the future." |
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