“Some Cars” was originally performed at the MorYork Gallery in Los Angeles October 29, 2015. Directed by Juli Crockett.
Driver: Juli Crockett
Passenger: Shaughn Buchholz
Poet: Gray Palmer
Man: Brian Tichnell
Woman: Shayne Eastin
Game Warden: Brian Tichnell
Game Warden’s father: Patrick Moore
Game Warden’s son: Christian Gibbs
Two Clowns: Tom (in academic robes): Shaughn Buchholz
and Jerry (in revolutionary’s garments): Shayne Eastin
Guy Zimmerman, Artistic Director and Producer; Suzanna Storm, Associate Producer; Bill Ballou, Technical Director; John Zalewski, Sound Design; Ellie Rabinowitz, Lighting; Patrick Halm, Props; Melissa Fiociello, Set Design; Amanda Eno, Stage Manager.
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This is a whole lot of trending for Kristina Marie Darling. She is this weeks blogger at the Best American Poetry website and we’ll be posting her articles all week long. Here is the first:
February 02, 2015
Formal Innovation & Textual Rupture: A Conversation Between Kristina Marie Darling & Tony Trigilio [by Kristina Marie Darling]
Kristina Marie Darling: Your new book, The Complete Dark Shadows (of My Childhood), Book 1, offers readers an extended engagement with 1960s mass culture, exploring the myriad ways that television and radio shape the individual consciousness. This idea that culture determines what is possible within thought, and within the human mind, is gracefully enacted in the content of the poems, which appear as pristine couplets. I'm intrigued, though, by moments when the form is broken, and the poems deviate from the pattern that has been established. As the writer, how do you know when a form should be broken? What does breaking form make possible within the content of your work?
Tony Trigilio: Thanks so much for your detailed reading of the book. My hope is that, as you mentioned, readers can identify with the ways mass media and individual consciousness shape each other in the book. As I get deeper into Vol. 2 of the Dark Shadows project (about half-finished with the second volume now), I gain a deeper appreciation of mass media's roots in the verb "to mediate." I realize the connection is obvious: but it's one thing to experience media/mediation intellectually, and an entirely different thing to experience it psychically and viscerally. Like all of us, the development of my own psyche was mediated by electronic communication—for me, it was television and radio, and for folks growing up now, it's digital media. It just so happens that the mediating force for me was a kitschy vampire and all the nightmares he caused me (though I was way too young to understand he was kitschy). As scary as the continual nightmares were, they did introduce me to the power of dream and to the idea that dream-reality is as vital and real as waking-reality.
Read the whole interview here: http://blog.bestamericanpoetry.com/the_best_american_poetry/2015/02/formal-innovation-textual-rupture-a-conversation-between-kristina-marie-darling-tony-trigilio-by-kri.html
A review and interview about Scorched Altar in Up the Staircase Quarterly.
And finally here is new interview at Rob McClennan's Blog:
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INTERVIEW WITH SUSAN LEWIS
INTERVIEW BY KRISTINA MARIE DARLING
Kristina Marie Darling: Your newest collection, This Visit, was recently released byBlazeVOX Books. What would you like readers to know before they dive in?
Susan Lewis: This Visit is a four-part investigation in couplets into subjectivity, ephemerality, and above all mortality (as the title suggests). The sections are intended to bounce off of, as well asecho, one another. The first offers a series of poems titled “My Life in . . .” (Dogs, Sheets, etc.) which play with plasticity and porosity of identity/identification. Section two contains another series of what I think of as abstract epistolary poems (Dear Tomorrow, Dear Subjectivity, etc.). The poems in the third section are the most lyric of the lot, written in orderly, left-aligned couplets. The fourth offers meditative experimentswhose leaps and non-linear connections are evoked by the space (and breath) incorporated into their more open and irregulartextures.
KMD: I admire the ways your poems use sound to forge connections between ideas and images within the text. In many ways, you make the reader question their fixation on the semantic meaning of words, and ask them to hear instead the music inherent in everyday speech. What does sound make possible for you within a poem, and within a narrative?
SL: You are quite right about my interest in challenging readers’ expectation of transparency from verbal artifacts – a function, no doubt, of language’s ubiquity and utility. Forefronting the sound of words – in conjunction and counterpoint with their meaning – is one way to bring them to the reader’s attention as the aesthetic material of this art form. The music of language is also a way to awaken the reader’s attention to unexpected, hopefully resonant connections. The dance between sensual effects and “meaning”can generate a lot of energy.
KMD: Your new collection, This Visit, is formally distinct from your previous books, State of the Union and How To Be Another. You've shifted gracefully from prose forms to lineated verse. What unique opportunities does lineated verse offer for the writer?
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SL: Well, I still love the prose poem – with regard to the line, I am definitely polyamorous! Where I see the prose poem as solid, compressed, and powerful, like an atom to be split, or a fist– I view lineated verse (in the writing as well as the reading) as lithe, sinuous, and (potentially) lacy, like a tendril or a fingertip. One opportunity lineation offers is the integration of breath/white space (depending upon whether one is considering the aural or the visual experience of the poem) into the fabric of the poem. Just as the absence of breath/white space gives prose poems a certain power and concentration, its presence in lineated poems offers an extra material to work with. To the extent space and breath invite the reader to stand back, contemplate, and muse, lineation can be conducive to a lighter, more suggestive touch. Even in more blocky presentations, lineated verse declares to the reader, in no uncertain terms, that this is a poem! – a piece of art rather than ‘simply’communication. Not to mention lineation’s visual dimension – whether it involves periodicity or unpredictability, stability or disruption. And then there’s the vast plasticity of the line (and break)! (Hence the inherent defiance of the prose poem, whose prose blocs seduce the reader to “relax” into reading, only todemand that they interact with the work on poetic terms).
Michael Gessner, a former Andrew Mellon professor at the University of Arizona, and Honors Program director at Central Arizona College, lives in Tucson, Arizona with his wife, and their dog, “Irish.” His work has been featured in American Letters & Commentary, American Literary Review, The Journal of the American Medical Association, Oxford Magazine, The Wallace Stevens Journal, Web del Sol, and others. His poems have been nominated twice for a Pushcart Prize and as finalists for “Distransversalesy”/The Nation, and the Pablo Neruda Award.
Books by Michael Gessner:
"The poems in Michael Gessner’s new collection, Transversales, are formally dazzling—incisive, witty, and smart—but compassion tempers linguistic brilliance. In a series set in Paris, for instance, a visit (against advice) to the 'labyrinth of tented markets,' the now-dangerous Market of Seine-Saint-Denis, is punctuated dramatically by fragmented quotations from Victor Hugo’s diary kept during the siege of Paris (1871). Quite simply, I am hooked on this book. Gessner’s poems are glory."
"There’s music of the mind in Michael Gessner’s Transversales, the investigating intelligence and haunting observations of a flâneur out of Walter Benjamin whose path time travels and intersects the lines of other alienated realities. A deft mastery marks these poems. 'The Markets of Seine-Saint-Denis' is a kind of tour de force; a trip to the 'home of the homeless' where both the past and the present 'are eating the unknown.' I am haunted by his imagery, as when he evokes the rain as 'the patterings of an unknown companion, lost and distant, now returned to wrap this house in sheets of itself.' I am struck by his poetic intelligence, as his lines intersect us with a sense of a beingness that is everywhere 'political, which means the beast is in costume.'"
Check out Transversales by Michael Gessner here
Tim J. Myers is interviewed about Dear Beast Loveliness, and other matters, with John King on Drunken Odyssey: http://thedrunkenodyssey.com/2013/08/25/episode-63-tim-j-myers/
Check out Tim’s book here
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