Excerpts of this piece appeared in the “Cataloging the Line” edition of Mentor and Muse: Essays from Poets to Poets. It contains some thoughts about lineation and what I often describe as “the tension of the sentence against the line.” The examples are all from Best American Poetry 2020, edited by Paisley Rekdal, but they’re also all available online via links in the piece: Regarding the Line
Really delighted to have another art piece in The Curator:“Lea Feinstein’s PAGES,” about the extraordinary text-based works Lea Feinstein has been making. It was a great joy to go to her studio one afternoon this past February to watch her make four paintings based on Ophelia’s song from Hamlet.
Just catching up on some recently published poems. It’s my first appearance in both of these outlets, and I’m really delighted by both of them, having admired each for a long time:
“Meteor Crater,” “Cabin,” and “Feel” in Terrain.org. This group feels like a sampler–three poems from three different skeins of my current book manuscript: one poem about a specific, real place; one poem about an imagined place from the fictional narrative in the book; one poem from the Thousand-Year-Old Words project. I love the gorgeous Meteor Crater image Terrain used, and that I had the opportunity to record all three poems.
“From the Lost Notebook 5” in The Night Heron Barks. This poem is from a fourth skein of the book–a scattering of “lost notebook” poems. This is the first one to be published so far. It also includes a recording.
Jack Zipes’s new translation, which came out this week, emphasizes Felix Salten’s 1923 novel’s evocation of the plight of European Jews. (The Nazis banned the novel in 1936 as a “political allegory.”) I was fascinated to reread the novel through this lens and to compare it to my reading as a child and to my husband and brother-in-law’s experience of the Disney movie as children. Here it is in Electric Literature.
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