Jane Wong’s Impossible Map

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This is from the good people at Fact-Simile:

Jane Wong’s Impossible Map is now available.

The careful, quiet-yet-expansive voice of the poet called for a form that could echo both the minute movements and larger overtures of the work. The pop-up effect of the Turkish map folds within performs the expansion and contraction of language that Jane so deftly employs.

The poems are printed on EnviroKraft recycled paper. Artist and paper-maker Nicole Donnelly locally harvested the mulberry branches for and crafted the bark-like Amate covers for this breathing, organic text. It’s bound with nylon thread in a limited edition of 100.

Visit our website to learn more and to order your copy (and receive a special limited time pre-sale rate).

Celebrate the release of Impossible Map with Jane from wherever you are in the world at Fact-Simile’s virtual release party June 9th.

Using our free conference call line, dial in to this virtual live poetry reading from your phone:

Enter Dial-in Number: (641) 715-3580
Enter the Meeting ID: 479-309-276

Jane will start reading her poems at:
6:30 pm PDT / 7:30 pm MDT / 8:30 pm CDT / 9:30 pm EDT

For more information, please visit the event page.

Lines of Sight: Visual Art in Asian American Poetry

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Christine Wong Yap. Untitled (one half gallon), 2006, paper, 8 x 8 x 1 inches / 20 x 20 x 2.5 cm.

 

I’m very happy about the recent publication of “Lines of Sight: Visual Art in Asian American Poetry,” a folio I guest edited for The Margins. The folio presents writing and art (some of it previously unpublished) by Christine Wong Yap, Debora Kuan, Eileen Tabios, Jennifer Hayashida, Mei-Mei Berssenbrugge, Shin Yu Pai, Walter K. Lew, O Chung, and John Yau alongside visual works by such artists as Yves Klein, Diane Arbus, Kiki Smith, and Toshiko Takaezu.
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Shark Porn

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Damien Hirst’s “The Physical Impossibility of Death in the Mind of Someone Living” (1991)

 

Stephen Burt has a recent review, “Poems about Poems,” from the Nov/Dec issue of the Boston Review that begins,

If you write a book of poetry about sharks, you might get attention from readers who care about sharks. If you write a book of poetry that is explicitly and consistently about poetry—its institutions and conventions, how we decide what counts as poetry, what we expect it to do—you might get extra attention from readers who care about poetry, which is to say from anyone likely to pick up new poetry at all.

Who, you might ask, would want to write poetry about sharks?  But there is, of course, Lautréamont’s Les Chants de Maldoror, which contains quite possibly the most sublime instance of shark pornography ever written.  This is from Georges Hugnet’s translation, published in 1965 by New Directions:

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Jim Goar’s The Dustbowl (Shearsman, 2014)

223_4430The Dustbowl
Jim Goar
Shearsman 2014, 86 pp., $16, ISBN: 978-1-84861-321-8

Jim Goar’s third full-length collection The Dustbowl is compelling evidence that the legacy of the New American Poetry is alive and well. The centerpiece of Goar’s rich and strange new book is the title poem, a 55-page serial work, which is reminiscent of the long poems of Jack Spicer and Ed Dorn—in particular, Billy the Kid and Gunslinger, which both tap into the mythos of the American West. Additionally, Goar makes nods to Spicer’s 1962 book The Holy Grail as well as to Spicer’s oft-cited idea that the poet is a radio which receives Martian signals in the same way that a Romantic Aeolian harp receives the wind: “Only Grail music. All day. / Every day. Transmissions from the deepest / space. A station found but not my own.” There are also allusions to T. S. Eliot as well (another poet who, of course, drew on the Grail legend); Goar’s narrator, a mysterious sojourner charged with a “singular quest-ion,” says, “Kept / The Wasteland in my pocket. Turned it over / and over. Dust as far as the eye could see.” But rather than Eliot’s wasted Europe, the wasteland here is the Dustbowl of the southern Plains populated — anachronistically — by down and out Arthurian knights: “They keep coming. Knights / from the heart-land. Never had / a chance. Each and every one. The / promise of something more.” Indeed, the cover photo suggests that this poem is a meditation on the ruins of American migrancy, on dreams perpetually in deferral. Continue reading

Poetry, E-Books, and John Ashbery

Gilgamesh's tablet 11 never looked so good.

Gilgamesh’s tablet 11 never looked so good.

There’s an article in today’s New York Times called “Line by Line, E-Books Turn Poet-Friendly.”  In it, Alexandra Alter reports that even though “[m]ost e-readers mangle the line breaks and stanzas that are so crucial to the appearance and rhythm of poetry” publishers of poetry are starting to do a better job preserving the integrity of the line as they remediate print books into digital form.

Last week, for example, Open Road Media published 17 digital collections of John Ashbery’s poetry, “the first time the bulk of his poetry will be available in e-book form.”  In contrast, Ecco attempted to put out four Ashbery e-books three years ago and “[t]here were no line breaks, and the stanzas had been jammed together into a block of text that looked like prose.”

Check out Open Road’s promo video for Ashbery below: