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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After The Japanese 25-28
In this stretch of the project of writing inspired by the classic Japanese poetry anthology, I start in memory and move to the time about a year ago when I was the guest of Gerry Cook and Hannah...
Four Hoarse Men Ride Again
A couple of years ago I became part of a group of poets that sought to explore poetry from the angle of pure sound in the tradition of Dada, Kurt Schwitters, the Four Horsemen (of Canada, from whom...
Hillman City Haibun 3 (Seattle Smells)
Just back from Miami where I had the good fortune to have access to the great Cuban poet José Kozer and do an interview, which I am working on getting posted here in a modified version as we await...
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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