Kell Connor

Sharp air. Marigold, the scent of the other world, the underworld, on a clear day. Lilac, soft red wheat. She will miss it: The carnal, that char of desire. That bitter register, the marigolds again, the color of cartoon flames. Body heat trapped beneath a worn quilt. I go into the next room and its the same room repeatd, she writes. That's the softness of this world, or all she can know of it. It's as fragile as foam. Where her form ends something else begins in the warm air. or I go into the next room and its the same room repeatd, she writes. It feels like receding, like something sneaking away and then coming right back through a different door. At a certain point a sense of place just assembles from thin air. I am inside my arrival, she writes. And here the phrases begin to fall apart at all points, too tender for our grammar.

from the book FINAL DIARIES / New Michigan Press
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Color reproduction of Etel Adnan's Mount Tamalpais, 1970/2017
"Of Light & Folds": Etel Adnan's Artist's Books

"The notion of writing hovers over Adnan’s painting practice, in which she makes her pieces....using a semi literary method—'in a single sitting, working fast on a flat table, never on the wall or at an easel.' Meanwhile, Adnan’s writing partakes of the painterly; her poems are vivified with references to 'red waters,' the 'pleated horizon,' 'shined surfaces,' and the light and heat of many colored suns."

via ART NEWS
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Cover of Camille Dungy's book, Trophic Cascade
What Sparks Poetry:
Heather Green on Camille T. Dungy’s Trophic Cascade


"Camille Dungy is both an outstanding writer of the 'natural world' and one of the most deft makers of metaphor working today. Her metaphors refuse to let the reader rest in their connections, but instead create a kind of friction in the mapping of vehicle onto tenor, an  incongruity that invites the reader to follow the various threads of implication in an unlikely pairing."
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