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LECTURES FOR INANIMATE OBJECTS

Poetics of time: Dates, calendars, metrics.
Ghosts and a small iron bowl in the ruins of the Romanian Republic of Alabama.

Forbidden
And I think about James Longenbach, who said a poem's power comes from its ability to resist its conclusions while being pulled toward them. I think about what it means to be haunted or remembered--and why the middle child is the one who keeps mentioning it. So much hinges on how we carve implication. Or what we want from the landscape.

Scythe
I mean the friction between fracking and fucking on the tongue, how both exploit the subject, and how this is not dissimilar from the way a poet touches the fragile places. How touch and torch are so close, and how fracking and fucking are both relations, operations, excavations. I mean the way love has bent my body like a top-heavy tulip.

The Thickness & The Threshold
There is a threshold that asks us to cross it without crossing over, without leaving ourselves entirely, without losing the ability to write what is known. To straddle. I keep my hand on the pen and sink my face into the thickness. I bring the terror to the page and take its pulse.

Last Page Blues
…. that horrible, narrowing dread which signals the finitude of a book’s world, the cessation of a voyage, the reentry into everyday life.

In Defense of Asymmetry
Fascination asks more from us than a relationship of admiration, which is, at best, a spectating relationship that affirms a platitude.

Sun In Strange Places
"I think motherhood makes you obscene," writes Duras. "A mother indulges all of her games." A mother, like her child, must survive the act of mothering.

Figures of Speech Which Are Not
The poem’s job is to make you believe it. If the heart can’t be broken, the poem’s job is to break the heart anyway. There is nothing less forgivable than the poem who assumes it can speak of heartbreak without hurting anyone.

Notes To Self On Memoir
The Secretary Bird of Africa hunts lizards, snakes, and other small reptiles by stomping about in the grass. Foot stomping serves as a means of self-preservation for bird species.

Of the Air
Anne Boyer, Mahmoud Darwish, the self-elegy, and the voluminous sky.

Paranoia, Theory, and Zaum in the present
Jenny Zhang, hag aesthetics, disinformation and zaum-diddling.

Conscience, community, and purity.
Summer Brennan, Cathy Park Hong, Mohsin Hamid, Megan Galbraith…

The Planned Obsolescence of American Grief
Maybe the pressure to fake happiness is a form of living death. It's no coincidence zombie dreams are on the rise. Faking happiness is not innocent or generous--it is not innocuous--those are merely the looping justifications parroted by insta-culture and self-help studs.

Where Words Leave Us
I need to talk about words, the ruse of them, the huff and whiff, the bracket. How a connotation can inflame a room, claim ownership of a womb. The difference between a baby and a fetus is how we feel when it’s said. How we choose the word to use based on what we want from it.

The Abecedarian of Abandoned Epigraphs
The frames for poetic cycles and things I have been drive to write around or towards.

Ontology and intimacy in reviews & translation
No translation can give you Virgil or Valery. A translation can give you the translator’s Virgil or Valery. And what this says of translation theories as related to the act of reading, itself, is not axiomatic.

Among the things poems have taught me: Yarn and the eternal life of chopsticks.] “Crip poetics” opens an awareness to the body’s use and abuse in human space. Barbara Hershey….

Not even Ovid could beat Dinu Lipatti’s nose.

Not even Ovid could beat Dinu Lipatti’s nose.


POETICS, NOTEBOOKS, AND CRAFT

Craft: how to start a poem.
Craft: how to end a poem.
Craft: questions for poetry revision.
Craft: what to add to a poem.
Craft: assembling a poetry collection.
Craft: poetry and music.
Craft: how & where to place poetry book reviews.
Form: the chaconne.
Form: the cameo.
Form: the fugue.
Form: erasure.
Form: lit mag cento.
Form: the blason.
Mirror: Jack Gilbert.
Mirror: Wislawa Szymborską.
Mirror: Ewa Lipska.
Mirror: Yoel Hoffman.
Mirror: Adam Zagajewski.
Conversation: Susana M. Case.
Notes: Walt Whitman.
Notes: Jerome Rothenberg’s ethnopoetics.
Notes: Heriberto Yépez’s speculative time.
Notes: Paul Celan’s turning of breath in poem.
Prompts: 6/20.
Prompts: 7/19.
Prompt: Carl Phillips.
Prompt: Charles Simic.
Prompt: Czeslaw Milosz.
Prompt: Mary Ruefle.
Prompt: Naomi Shabib Nye.
Prompt: poetry playlist challenge.
Prompt: handbook of nature study.
Prompt: cool girl etc.
Prompt: Galway Kinnell.
Prompt: a litany.
Poems to study: 12/19.
Poems to study: 10/19.
Poems to study: 6/19.
Poems to study: 2/19, prose poetry.
Imitations: “Love” (after Alex Dimitrov)
Imitations: “limbă” (after Kapka Kassabova)
Imitations: "Autism Screening Questionnaire--Speech and Language Delay" (after Oliver de la Paz)
Imitations: Devin Gael Kelly’s walking poems.
Close read: "The Structure of a Flower: Stem" by Andrea Rexilius.
Close read: ”Voice” by Jennifer Horne.
Close read: ”Brink of Life” by Khashayar Mohammadi.
Close read: “The Snails” by Samatar Elmi.
Close read: "Don't Disappear" by Yevgeny Yevtushenko.
Close read: “With Mercy for the Greedy” by Anne Sexton.
Close read: Three versions of César Vallejo in translation.





A FEW BOOKS

Anna Seghers, Transit (trans. by Margot Dembo)
Barbara Comyns, The Vet’s Daughter
Barbara Comyns, Our Spoons Came From Woolworths
Brandon Shimoda, The Grave on the Wall
Bruno Schulz, Undula (trans. by Frank Garrett)
Christina Tudor-Sideri, Under the Sign of the Labyrinth
Claire Meuschke, Upend
Eric Chevillard, The Posthumous Works of Thomas Pilaster
Erin Coughlin Hollowell, On Every Atom
Haldane McFall, The Art of Aubrey Beardsley
James Meetze, Phantom Hour
Kay Ryan, Synthesizing Gravity: Selected Prose
Lewis Hyde, A Primer for Forgetting
Louise Labe, Love Sonnets & Elegies (trans. by Richard Sieburth)
Machado de Assis, The Posthumous Memoirs of Brás Cubas (trans. by Flora Thomson-DeVeaux) Part 1, Part 2, Cubas Index
Maria Negroni, Dark Museum (trans. by Michelle Gil-Montero)
Pierre Senges, Falstaff: Apotheosis (trans. by Jason Siefrig)
Pierre Senges, Studies of Silhouettes (trans. by Jacob Siefrig)
Silvina Ocampo, The Promise



EPHEMERA & RUINSCAPES

Erik Satie’s desiccated embryos.
Robert Musil’s last notebook entry.
Yvan Goll, Claire, surrealism, and Paris.
Goll, Chaplin, Benjamin, Sebastian, ellipses.
Walter Benjamin and Anna Seghers in transit.
Charles Pinckney’s “Lifeboat”.
An Alternate Take on Hotels & Sex..
Pasternak and Ghirlandaio: The irradiated smile.
Walter Benjamin on history: How refugees die & keep dying.
Time, Marx, machines, love, tonsils.
Mutilations.
1979: baby steps.

[Industrialized Sketches] Incorrigible idealist believing the future absolves bleaches of days past. Strange mythoscrotum of roots, fake blonde, cawl and all, commercial skat.

[Letter to friends upset by disparagement of southern & red states as attacks on female bodies continue]

Notebook Archives