Daniel Nester is the kind of writer who looks at his book as an opportunity to be honest with you, and hopefully make you laugh. Which I did, while reading his latest book, How to Be Inappropriate, just out this past fall.
A new gallery opening in the wake of this depression is nothing short of a miracle, but to say that Prism Gallery “opened” is an understatement. Its appearance in Los Angeles was more like a close encounter of the third kind.
Paul Brunick interviews Tony Pipilo, author of the upcoming Robert Bresson: A Passion for Film, an “aesthetic biography” on Bresson.
BOMBlog’s Word Choice features original works of poetry, fiction, and art. This edition of Word Choice, selected by Peter Moysaenko, features poetry by John Thomas and art by Dread Scott.
Peter Moysaenko Emerson reminds us that the vital poem amounts to more than mere meter but rather the message behind it, just as Frost insists that in the vocalization of patterned syllables lies inherent meaning. According to your own practical model of poetics—how you undertake the self-generative action of verse—do you typically find that a poem arrives first as idea, or does its sound precede it? Or are the two aspects utterly inseparable, mutually dependent?
John Thomas More often than not, it begins with a notion or an image. Yet I’m also responsible for a number of poems that were triggered by sound alone. “Contrabass” is a hybrid of sorts—I was initially approaching the idea of a specific range of sound. Regardless of origin, once a poem has a pulse, mouthfeel, rhythm, enjambment, and a great many other things become incredibly important. All of these elements can communicate with one another if the poet has the patience to develop those relationships. Proceeding from there is a matter of solving simultaneous equations. Ideally, they should all agree.
Matvei Yankelevich’s playful writing makes for an enjoyable read, combining absurd theater, avant-garde poetry, and children’s fable into ??Boris by the Sea??’s slim 62 pages.
The husky-toned hippie, born Merrill Garbus, released her BiRd-BrAiNs album and BiRd-DrOpPiNgS EP in 2009, a mix of freak folk, R&B and African that forms initially jarring, but ultimately beautiful, experimental collections. She just released a new album titled whokill.
James Lasdun’s latest collection of short stories It’s Beginning To Hurt contains 16 intricate tales, each one thought-provoking and rich with linguistic brilliance.
Lars Elling reconsiders Artaud giving us theater and its double, painting. True to painting, he reels the viewer in; true to theater, he creates a scene to unfold and hemorrhage. Watch a virtual gallery walkthrough of his show Fictions at Nicholas Robinson Gallery.
The great film critic Stanley Cavell once wrote that his enjoyment of The Awful Truth was “especially dependent on the presence of an appreciative audience.”
BOMBlog’s Word Choice features original works of poetry, fiction, and art. This edition of Word Choice, selected by Peter Moysaenko, features poetry by Kirk Nesset and art by Steve Giovinco.
Peter Moysaenko W.C. Williams writes, “It is difficult / to get the news from poems / yet men die miserably every day / for lack / of what is found there.” Yet can one reasonably expect any poem to offer lasting forbearance from misery in life or death, that is, without food on the table and a drink in the glass, without a clutch of minor comforts, how can one speak of happy perseverance or a peaceful end—after all, what in the poem cannot be found elsewhere in the ever evolving world?
Kirk Nesset I don’t think Williams is suggesting that poetry can do much to comfort or fortify us if we are suffering and miserable. But difficult as some poems are to sort through, he implies, we need them as a civilization, highly-evolved as a species as we believe ourselves to be. They teach us openness, tolerance, compassion, respect, and love for all things animate and inanimate, and reconnect us to humanity—to the deeper, more enduring parts of ourselves.