In writing the poems in "Extinction Studies," I was thinking a lot about the simultaneous pitfalls and benefits to the notion of anthropomorphism, a vexed word that seems unavoidable when discussing writing that contends with animal life. Around the time I wrote "Phantom shiner," I read Brian Massumi's book "What Animals Teach Us About Politics" and I remember thinking a lot about this quote: "a human-becoming bird, for example, does not invade the nest, like a cuckoo. The potential actions are purely played, unframed and thus without assignable limits." It is my hope that the voice animating "Phantom shiner" embodies these unframed and unassignable limits.
Matthew Tuckner on "Phantom shiner" |
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"The Infinite Possibilities of Carl Phillips"
"As I used to tell my students, mystery is one thing, obfuscation another. But the benefit of mystery is that it can provide resonance, i.e., it can leave us with questions that can be productive. If a poem simply declares everything clearly, I have no room to start pondering further. As a reader and as an artist, I want that room for pondering—it’s what gives a poem continued life."
via CHICAGO REVIEW OF BOOKS |
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What Sparks Poetry:
Johannes Göransson on Ann Jäderlund's [Not here]
"The influence between texts seems to flow in mulitple, volatile, anachronistic directions. It’s perhaps even wrong for me to say that the poems are based on Celan’s and Bachmann’s correspondence. The correspondence is one source, but from these letters, Jäderlund’s poetry is brought into contact with Hölderlin, Heidegger, Shakespeare, Rilke and others. Like Manny Farber’s infamous concept of 'termite art,' Jäderlund’s writing 'goes always forward eating its own boundaries.'" |
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