A desire to speak through "error" fuels this poem. I stumbled into the poem's system, by mouthing as many adjectival forms as I could, with every combination of more and most attached. My question was how many times can I break this rule, while speaking through it clearly. It's become a kind of ode to what the tongue wants to do, in a linguistic environment that suggests it does otherwise.
A. H. Jerriod Avant on "Felonious States of Adjectival Excess Featuring Comparative and Superlative Forms" |
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"A Conversation with Erin Marie Lynch"
"While my work is indebted to many poets working within documentary poetics, I don't feel a documentarian's impulse to record, refract, reframe reality. But I am obsessed with the idea of the document itself: both the documents that shape the poem and the poem as a document, reshaping what is outside of it."
via HUNGER MOUNTAIN |
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What Sparks Poetry:
Robin Myers on Other Arts
"I stopped to watch a group of people doing something odd and beautiful together on a patch of dry grass. Was it a dance improvisation workshop? An actors' warm-up? I couldn't tell, but it felt special to see them doing it. They drifted around and moved their limbs, interacting sporadically with their surroundings and each other, in a way that felt both spontaneous and coordinated, both public and private. Both practiced and unfinished, even unfinishable. They used only their bodies, no language at all." |
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