Pop & Poetics: Phantoming Toward Utopia (Episode 3)

In the final installation of Pop & Poetics featuring Lisa Robertson and Grimes, Christy Davids and Crossley Simmons continue to delight in the unexpected intersectionality of poetry and pop music.This time, they consider the practice of obsolescence, which enables Grimes and Robertson to escape the confines of the expected. Ghosting or phantoming expectation, and emphasizing what Robertson calls “a sensed present,” not only enables one to elude systemic control (misogyny, capitalism, & even genre), but spurs political transformation. This, according to Lisa Robertson, is what utopia really is, and Grimes is a fellow practitioner.


Pop And Poetics: Demystifying the Pastoral with Lisa Robertson & Grimes (Episode 2)

Robertson and Grimes, it seems, are just two pastoral phantoms singing to each other across a manufactured landscape. In the second installation of Pop & Poetics, Christy Davids and Crossley Simmons continue to delight in the unexpected intersectionality of Lisa Robertson’s writing and Claire Boucher’s (Grimes) music.


Christy Davids is a poet who often listens to the Beach Boys and thinks about great big trees. She recently completed her MFA at Temple University where she also teaches. Christy is an assistant editor at The Conversant, curates the Philadelphia-based reading series Charmed Instruments, and collects recordings at poetry//SOUNDS. Her chapbook Alphabet, Ontology was a finalist In Ahsahta’s 2015 chapbook contest; she has been published in VOLT, Open House, and A Few Lines magazine among others.

Crossley Simmons has a M.F.A. in Poetry from Temple University, and squats over 300 pounds. Her essay “be//headed” was awarded the Joseph Beam Prize for an essay or literary work “whose subject matter would be of interest and importance to sexual minorities.” Crossley is the last name of her Great Grandmother, Baba, who turned 97 this year in Memphis.