What Sparks Poetry is a series of original essays that explores experiences and ideas that spark the writing of new poems. In Reading Prose, poets write about how the experience of reading prose, fiction, non-fiction, criticism, theory, has sparked the writing of poetry or affected how they read poetry. Each Monday's delivery brings you a poem and an excerpt from the essay.

I was travelling through a particularly grim part of your country when I saw this phrase scrawled beneath an overpass. Beneath it, the same hand had painted a graffiti mural in no way reminiscent of Arshile Gorky’s work—just a heap of pink and green bubbles, like forced cheer. Naturally, the reference might have been to another Gorky, Maxim the writer for instance, or one you and I would not recognize. In any case, the phrase has the correct grammatical markers to form a Latin sentence, but the words mean nothing. If we were philologists we might instead conjecture them to be a corruption of GORKY SUBLIMVM TEXIT, an elusive sentence that would mean: Gorky protected a sublime thing, or concealed it—or even, taking TEXIT as the syncopated form of TEXVIT, that he wove it. The point is, I arrived in your town and rang your bell at the appointed time, but you did not answer, nor have I heard from you since, and all my letters have been returned sewn shut like eyelids.

from the book THE GRID /  Changes Press
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What Sparks Poetry:
Eli Payne Mandel on Reading Prose


"As a poet and therefore complicit in the making of poems, I have tried to weasel out of this problem—the problem of poems in and against the world—by writing prose poems and poems about prose. Conventionally, the world is prosaic. It unfolds in ribbons of tweets and advertisements. Also: graffiti somewhere in the northern Italy. If my poems attended to and participate in this prose, perhaps they would tell me, or you, something about the crisis we call the present."
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"Ben Lerner in Conversation with Zoë Hitzig"

"Maybe I found myself writing novels because I embraced their secondary relation to poetry? I've always been interested in what happens when poetry is excerpted or embedded in prose—the narrator of Leaving the Atocha Station talks about this, the glimmer of possibility when line breaks are replaced with slashes. Or the little interval of whitespace between prose and a poem cited with its lines intact."

via NOVEMBER MAG
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