In Approximating Diapason, hastain and Thilleman engage in an epic correspondence, creatively paralleling, intersecting, and intertwining their very distinct poetic vocabularies and intelligences. What results is a collaborative treatise on the metaphysics of creativity, the physics of the compositional page, the philosophy and ethics of form, the ontology of ghosts and gods, and the future of the mythographic imagination. But this is just scratching the surface. Much is exchanged and archived in this wide-ranging and interdisciplinary compendium—dreams and their interpretations, drawings and their ekphrastic elaborations, photo-collages as exegetical annotations, allegorical visions and their exfoliating significations, snippets of verse and poetic prose, expressive typography, neologistic harmonizations, memorable autobiographical illustrations, aphoristic declarations (such as “because words are arbitrary capacities, they are really equivocal chambers of the before and after of meaning”), revelatory images (such as “infinite, flopping-but-severed mermaid tails washing up on the shores”), and evidence from both Western and Eastern thought, from sources both scientific and occult—and what holds such sheer disparateness together is the conviction, from both writers, that writing is born from a deep engagement with multiplicity and cosmic diversity. At times, this highly syncretic book reads as if it were out of some science fiction novel narrated in dialogue, as if we were reading characters from another planet conversing about such subjects as aesthetics, psychosocial politics, or new gendered embodiments—but then we realize (with shock, wonder, and gratitude) that they are, indeed, of this world. Alternately, it reads as if it were a monumental transcript prepared for a time capsule, an edifying text for when the aliens come—but then we realize that we are, in fact, the aliens, and that this book has been saying to us all along: welcome to our world.
Publication Date: May 02 2012
ISBN/EAN13: 1881471012 / 9781881471011
Page Count: 346
Binding Type: US Trade Paper
Trim Size: 8.5″ x 8.5″
Color: Full Color with Bleed
Related Categories: Literary Collections / Letters
Michael Leong is the author of the poetry books e.s.p., Cutting Time with a Knife, Who Unfolded My Origami Brain?, and Words on Edge. His creative work has been anthologized in THE &NOW AWARDS 2: The Best Innovative Writing, Best American Experimental Writing 2018, and Bettering American Poetry, Volume 3. His co-translation, with Ignacio Infante, of Vicente Huidobro’s long poem Sky-Quake: Tremor of Heaven is forthcoming from co•im•press in late 2019. His critical monograph Contested Records: The Turn to Documents in Contemporary North American Poetry is forthcoming from the University of Iowa Press in May 2020. He has received grants from the Council of Literary Magazines and Presses and the National Endowment for the Arts. He teaches in the School of Critical Studies at CalArts.