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.
Stephen Collis, Cascadia Po Fest Closing Reading
One of the high points for me at the 2nd Cascadia Poetry Festival May 2014, at Seattle U and Spring Street Center in Seattle, was hearing Stephen Collis read. He may be the quintessential Cascadia...
482. Corset Warrior Armor
This is the first of my poems written in Mexico for the 2014 August Poetry Postcard Fest. For more details on all the postcard poems I wrote in 2014 see this page. This poem, like many in Mexico,...
Postcards From the Wilderness
I got back yesterday from a short (annual) backpacking trip to the Olympic National Wilderness. I have tried each year to recreate a 1995 experience of visiting the Olympic Mountains, specifically...
481. Dispatch From the Fringe
This is the second of two intentional collage poems I wrote during the 2014 August Poetry Postcard Fest. (More on all my 2014 postcard poems here.)
480. More Dead Air
Inspiration for this poem came, in part, from a dream.
479. Girl w/ the Green Hair
Subud LGBTQ Youth Movement
One of the most memorable events at the recent 14th Subud World Congress in Puebla, Mexico, was a meeting centered around the acceptance (or lack of it) in the Subud community. Keep in mind our next...
478. Hipster Cancer
477. Still Echoing (For Lennie Tristano)
I've blogged about the inspiration for this poem before but here is the text and postcard image and below find the Soundcloud widget.
Fighting Coal Trains with Totem Poles (Jewell James)
Today I had the honor of interviewing Jewell James of the Lummi Tribe about his effort to create awareness and organize opposition to the export of coal from Wyoming and Montana to developing...
My Personal Universe Deck
What's good for the goose... It was about 20 years ago (2000?) when I first learned about Michael McClure's concept of a Personal Universe Deck and 8 years ago when I took some of my retreat time at...
12.9.2020 American Sentence
The end of 2020 (aside from spawning millions of "good riddance" celebrations) marks the completion of twenty years of daily practice of American Sentences. These (usually) 17 syllable poems, a form...
FLEXIBLE MIND December 3, 2020
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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