Paul E Nelson presenting at Cascadia Poetry Festival 8, photo by Leszek Chudzinski
Paul Nelson’s ongoing honing of the Day Song poetry event has produced some of the most lively and consequential verse of our time. How else write about the calamities and demands and mental/emotional/political consequences of the materialist apocalypse upon us, than an ongoing poesis of awareness and participation the anti-form the Day Song provides? Truly a praxis of proprioception and of Olson’s demand to “keep it moving…
– Sharon Thesen, Cascadian Poet/Scholar from B.C.
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Global Warming Sentences
In my two most recent readings of American Sentences, I used as an ordering device the month of April. I went through my manuscript and copied off all of the poems written in April that were...
South Seattle Emerald 2nd Anniversary
One of the great delights of the Internet Age is that the local newspaper, now all but gone in our society, has been reimagined as the neighborhood blog. I envisioned this 20 years ago while living...
531. Rat Access
Another Salish Art card from the 2015 August Poetry Postcard Fest and one I’ve used before. We miss our cats, not that they would have been able to ward off attic rats. There is just something...
How does one make literary art about this time in history that avoids rhetoric and facile political positioning in this era of the spectacle? How does one avoid being consumed by the simultaneous collapse of so many systems — some being eviscerated by people in positions designed to protect such systems? Deborah Poe has some idea based on her submission to the upcoming anthology Winter in America (Still.
Deborah is the author of several books of poetry including keep, Elements, and Our Parenthetical Ontology, as well as a novella in verse, Hélène. Her visual works–video poems and handmade book objects–have been exhibited throughout the US. She lives on stolen Coast Salish land, specifically the ancestral homeland of the Duwamish, Suquamish, Stillaguamish, and Muckleshoot People.
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