“Idiophone is a dance between Fusselman and her reader; Fusselman is always fully leading, sometimes at a stately pace, but most often at one that is allegro, even allegro vivace.”
Pas de Deux: Amy Fusselman’s “Idiophone” Read More »
“Idiophone is a dance between Fusselman and her reader; Fusselman is always fully leading, sometimes at a stately pace, but most often at one that is allegro, even allegro vivace.”
“The brilliance of her engagement with this simple structure is an honesty as to composition’s value, or at least, the ways we ordinarily conceive of its value.”
An Act of Love from the Dream to Hamilton: Diana Hamilton’s “The Awful Truth” Read More »
“The brilliance of her engagement with this simple structure is an honesty as to composition’s value, or at least, the ways we ordinarily conceive of its value.”
“David Foster Wallace isn’t going to create any more things, so I have to take my energy in a new direction and create my own work. Like anyone who experiences a loss, I work with what’s left — one of Wallace’s texts. Working via erasure allows me to commune with the original text and author in a way that work that was simply inspired by or dedicated to wouldn’t. I repeatedly handle the physical book as I create a digital scan of the text. I then work with one page at a time, interacting with the words on the page and slowly erasing text until what remains is part me, part Wallace. The process is one of remembering and reflecting; the final product, a memento.”
The Riches of Erasure: An Interview with Jenni B. Baker Read More »
“David Foster Wallace isn’t going to create any more things, so I have to take my energy in a new direction and create my own work. Like anyone who experiences a loss, I work with what’s left — one of Wallace’s texts. Working via erasure allows me to commune with the original text and author in a way that work that was simply inspired by or dedicated to wouldn’t. I repeatedly handle the physical book as I create a digital scan of the text. I then work with one page at a time, interacting with the words on the page and slowly erasing text until what remains is part me, part Wallace. The process is one of remembering and reflecting; the final product, a memento.”
“Philosophers have worried over the mind-body problem for centuries, but poets have ignored that problem just as fruitfully for just as long: We know that thinking happens in the body, through the body—that invulnerable Achilles still needed an intricate shield to protect his body, to celebrate it and glorify it, fated for death though it was. We know that for things to truly exist in our poems (‘No ideas but in things!’) they must be embodied: the real toads in our imaginary gardens.”
Bent Beneath the Low Heavens: An Interview with Dan Rosenberg Read More »
“Philosophers have worried over the mind-body problem for centuries, but poets have ignored that problem just as fruitfully for just as long: We know that thinking happens in the body, through the body—that invulnerable Achilles still needed an intricate shield to protect his body, to celebrate it and glorify it, fated for death though it was. We know that for things to truly exist in our poems (‘No ideas but in things!’) they must be embodied: the real toads in our imaginary gardens.”
