Elena Karina Byrne: “THE ORPHAN OF SILENCE (An Interrupted Essay)”

                        I just knew they had to be silent… the pain is not out in the room, the pain
                        in ourselves is invisible, inside ourselves.

                                                            –– Bill Viola

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Poiein: to make. No matter the numerous etymological routes, one arrives at to make. The emphasis is not on the maker. The maker: the poet, though active, is not the action. The making is the thing. The all-important thing: performing a range of possibility.

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Geoffrey G. O’Brien: Canceled Pastoral: Ashbery’s “The Instruction Manual” and Genre Responsibility

This essay was originally delivered as a talk at Saint Mary’s College, September 16, 2015.

The poet and critic Allen Grossman has said that poetry addresses itself to two fundamental problems or limits: death and the barrier of other people’s minds. What he doesn’t discuss in this formulation are the material conditions in which those problems present themselves and in which any poetry that tasks itself with confronting them is written. But such conditions—economic and social—obtain in any historical moment from antiquity to the corporatist present and not only affect a poem’s situation, they constitute a third limit: the poet’s constrained imagination of those other limits, death and people, and of poetry’s capacity to reach and traverse them. One crucial version of that third limit is time, which at all times is an economic commodity—the act of composition is a labor that requires time and thus freedom from other labor, either purchased with one’s own work or by virtue of the work of others, usually both. Poetry has several ways of forgetting the fact that it’s underwritten by labor, that there is endless occupation supporting its vocation, the easiest of which is, like Grossman’s account of the poetic task, simply not to mention it. A specific, reliable form of this unmentioning is called pastoral.

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Bay Area Lit Scene: Studio One Reading Series


What: Studio One Reading Series
When: December 4th, 2015
Where: Studio One Art Center, 365 45th Street, Oakland, CA

Review by Kevin Kvist Peters, Bay Area Lit Scene Editor.

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Elena Karina Byrne: “Dystopia’s Slipping Genre: Boyd Webb, G-Star’s Raw Youth Culture & Poetry’s Consequence of Freedom”

An Ekphrastic Essay

“The anxiety of influence” —Harold Bloom

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Adam Fagin: “traversing the interval”: Notes Toward an Enantiomorphic Emily Dickinson

            “To see one’s own sight means visible blindness.”
                                                                        -Robert Smithson

            “I could not see to see”

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Erica Mena reviews Valerie Mejer’s Rain of the Future

vmRain of the Future
Valerie Mejer
translated by A.S. Zelman-Doring, Forrest Gander, and C.D. Wright
Action Books, 2013

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Erica Mena: “Attempts to Generate a Field of Potential Translations with Silence”

Attempts to Generate a Field of Potential Translations with Silence

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Liza Flum reviews Hannah Sanghee Park’s The Same-Different

The Same-Different
Hannah Sanghee Park
The Same-Different
Louisiana State University Press, April 2015
ISBN: 9780807160091

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