The Conversant is happy to announce its merger with Essay Press. Andy Fitch will be Essay’s new editor. Cristiana Baik will be its managing editor. Christopher Schmidt will serve as editor at large. We look forward to working with Essay’s founding editors Catherine Taylor, Stephen Cope and Eula Biss. Here we offer Fitch’s 2011 interview with Taylor concerning Essay Press. This interview first appeared in Cream City Review 36.1.
Andy Fitch: You’ve founded respected publications before, the Harwood Review and New Ohio Review. Could we start by discussing if, initially, you’d thought of Essay Press as an extension of those projects, if you envisioned the press making a pointed intervention into contemporary publishing (specifically into creative nonfiction or poetry, or as critique of any clear demarcation between those fields)?
Catherine Taylor: It’s true I’ve done many publishing projects. I think they’re all just symptoms of the way I live and work. But in terms of intervention: It might be too programmatic, or ascribe too much intention to say I meant to make an intervention. I just responded to a perceived lack. I was teaching creative nonfiction but struggling to find the kind of work I wanted to teach. I’d wanted to teach more innovative pieces, pieces that challenged students in terms of form or politics or were just a bit less mainstream than the essays that tend to get featured in anthologies. That was my first motivation. I was looking for pieces. And realizing they were in literary journals, some already defunct, and that there really wasn’t a place in the publishing world where my students and I could access this work. I thought, Well, I could start a press that gave essayists and creative nonfiction writers a home in the way poets had. And that became the model, that you can return to your favorite poetry book year after year, but it’s hard to return to a great essay you saw in an obscure journal six years ago if you’re not schlepping around your old journal copies. Sometimes I do that and sometimes I don’t.
H. L. Hix: Let me start this side of our conversation by taking your advice. The welcome you extend, in Close Calls with Nonsense, to prospective readers of new poetry includes a “How to Read Very New Poetry” section that begins: “The most important precepts are the simplest: Look for a persona and a world, not for an argument or a plot. Enjoy double meanings: Don’t feel you must choose between them. Ask what the disparate elements have in common. . .”
I take that as good advice to a reader of your own very new poetry, since your latest book, Belmont, offers a world that is two worlds at once: The book’s back cover informs readers that you live in Belmont, Massachusetts, and its epigraph tells us we are entering the Shakespearean Belmont of The Merchant of Venice. In fulfillment of your advice, I don’t feel that I must choose between them, but since I have this chance to quiz the author, let me ask you what the disparate elements have in common. Why was it important or inviting to inhabit both worlds at once, the “literal” or “real” Belmont in which you live and the “mythic” or “poetic” Shakespearean Belmont? What does one learn, or what pleasures are offered, by not choosing between those two worlds, but dwelling in both?
Stephen Burt: Thanks for asking. I think we all need to inhabit at least two worlds, because this real world just isn’t enough for anybody, as marvelous as it is; because any adult life, and any child’s life (though not for the same reasons) includes wishes that cannot be fulfilled for real; because the imagination is amazing and should not be limited to what’s probable, or even possible; because there are more things in heaven than there are in Earth.
The Conversant republishes excerpts from HER KIND, a digital literary community powered by VIDA: Women in Literary Arts. An earlier version of this present conversation can be found here.
HER KIND: In her poem “Summer X-Rays,” Nina Cassian tells us: “That’s why I swim so far out, / willing prisoner / inside the sea’s immense green magnifying glass.” What draws you to the water? How far are you willing to swim and why?
Amina Cain: My mother tells me that when I was two years old, she couldn’t keep me from the water. She would set me down on the beach and before she knew it, I was in the waves trying to go further than a two-year-old should. I had very few fears as a child, and I loved the water, as many children do. I love it still. I am always trying to decide which I like best—ocean, river, or lake—but I can’t. The ocean is immense, yes, but you can float down a river for a very long time, and in a cold climate a lake’s waves freeze in winter. Today, on the first day of summer, I think I would choose to swim in a river. The Yuba, in the Sierra Nevada mountains.
In his monthly poetry podcast, Radio Free Albion, Tony Trigilio interviews poets about their recently released or forthcoming books. Always informal, each interview is a conversation—two poets talking about the work and play of the creative process, and showcasing some of the most innovative new work in contemporary poetry.
Joshua Marie Wilkinson: First off, you’ve been living in Istanbul for the last five years. Can you tell us what you know is happening there now?
Julie Doxsee: Actually, I have been in Istanbul for six years. I am not Turkish, though I feel connected to Turks through friendships, colleagues, lifestyle, and through my Turkish-blooded children. What is happening right now is something Turks own, and as an “inside” outsider, I feel proud to be connected to this outing of the Prime Minister as he rockets about on his power trip. Sometimes his public speeches are so baffling I just laugh, stunned, but when I realize he is serious, the gravity of his power really affects me (for three weeks, off and on, I have been on the verge of vomiting). Last week one government authority claimed that the police water cannons were not laced with chemicals, as evidenced in photos, but with “medicine” that is good for the people! For now, the exhilaration that comes with the protesters’ resilience outweighs the gas bombs and water cannons the police are pummeling them with. The government henchmen are shooting themselves in the feet over and over again. They have created protesters of people who wouldn’t normally get involved: mothers, grandmothers, residents of Taksim, business owners, tourists—anyone whose daily lives have been upended by the chaos, anyone who has been horrified by the police violence. This man is thrusting so much hatred and violence into the faces of beauty and love that make Turkey so amazing—calling his own people enemies and “chapullers.” Now that the worst is over (I hope), only good can come of it. Turkish culture has been through a lot; the past 90 years have been an unprecedented trial for a new kind of secular Republic. Turks have grown and become empowered by standing up to a disillusioned megalomaniac, and they are winning with intellect and honor.
Novelist Jessica Lott prompted this conversation between Rosebud Ben-Oni and Robert Yune with the following question:
“Both of you live in and write extensively about cities—Rosebud in Jerusalem/NYC and Robert in Pittsburgh. You’re both very sensitive to language as well as heavily exposed to it in your daily lives: its cadences, speeds, rhythms, the multiplicity of voices—also its purposefulness in helping us to process and navigate our urban environments, its variations from city to city, neighborhood to neighborhood. How does that overwhelming exposure to language tie into your poetry and fiction, the urban landscape you are both responding to and creating within your work?”
Robert Yune: That’s a great question. I had to think a lot about this one because language is so common that I often take it for granted. As David Foster Wallace once said, fish don’t know they’re swimming in water.
This is the first of a three-part series featuring conversations on poetics, identity and writing among CantoMundo poets. I first met poets Ruben Quesada and David Tomas Martinez at the CantoMundo Fellowship Retreat this past June. After a weekend of readings at the Emma S. Barrientos Mexican American Cultural Center, some of the fellows went out to a bar for our last night; Erika L. Sánchez, David and I, along with author Brian Kornell, piled into Ruben’s car and we continued a discussion we’d been having all along at the retreat: Latin@ identity and poetics. Over beers later at the bar, we discussed everything from Hitchcock to basketball to code-switching (I also might’ve accused David of being a clandestine bullfighter, but that’s another story) At the end of the night, running across a busy street in the rain back to Ruben’s car, the banter that had developed between Ruben and David became a sort of incantation that led me to think more deeply about what it means to be a Latin@ poet in 2013. It is with great pleasure that I introduce Ruben Quesada and David Tomas Martinez to start off this series. —Rosebud Ben-Oni
Rosebud Ben-Oni: What led you to poetry?
David Tomas Martinez: The honest answer as to why I got into poetry? Because I didn’t know any better, because going to college was as improbable as making a living through poetry, and my parents, who were not college educated, didn’t have the authoritative stance they normally have. Honestly, as a teenager, I didn’t think I was going to live past 23, so why not take a chance? Also, I had what all writers have, a strong sense of ego coupled with crippling bouts of self-criticism and doubt; in other words, I wanted to prove myself to others, but believed I was special enough to prove myself. I look back, and I have done a lot of crazy stuff, but it was by far the craziest.
Nature Theater of Oklahoma talks with Oskar Eustis, director of The Public Theater in New York City about leadership, ethics and idealism. How does Oskar navigate the economic disparity he encounters every day running an arts institution that has to both market itself to wealthy backers and nurture an often very impoverished community of working artists? What are the possibilities he sees in the future toward making a better, more sustainable working environment—and ultimately better art—in the American theater?
Thomas Fink is a frequent contributor to The Conversant. The subject of this interview is Jill Magi’s SLOT (Ugly Duckling Presse, 2011). You can read part I of this interview here.
Thomas Fink: Please tell me about your development of a relation between some of the photos in SLOT—especially those of the expressive hands—and the poetic text.
Jill Magi: You ask about the photographs. I recently wrote an essay on poetry and photography for Poetry Northwest. Here is a snippet:
As I worked on SLOT, I intuited that page after page of text only was not ideal, even if that text contained the visual via description and self-reflexive language on the act of looking. SLOT is about resisting landscaped memory in the post-disaster experience. Looking, including looking away and not picturing, is key in this work that asserts the importance of the personal gesture (incorporated memory) amid official versions of an experience (inscribed memory). The photos in SLOT attempt a turn away from received images of the World Trade Center disaster while refusing erasure.
I note the presence of my hands in the photos: untangling string and uncovering veiled museum brochures. I think of the common Estonian greeting my father taught me: “how does your hand go?” where “how are you doing?” is indicated by how well you are making, working.
In her interview program The Last Word, Cynthia Arrieu-King interviews amateur and professional poets and writers most often in the South Jersey and tri-state area. This program features Sommer Browning.
This interview with Nick Piombino started roughly five years ago as a project for Wig, a magazine devoted to writing work: poetry that appropriates time and/or materials from the job for its own purposes. As it turned out, we (Kristen Gallagher and I) never produced the third issue of Wig as planned, and so eventually the project fell by the wayside. Nick and I, however, continued our correspondence over the years, periodically reiterating our desire to continue on with the project, with Nick reassuring me that the questions I had sent to him regarding his career as a psychoanalyst and its relation to his writing were still very much on his mind. The Conversant has offered Nick and I this opportunity to pick up where we left off. Part Two will follow in the coming months.
Tim Shaner: As for the questions, I’m thinking of starting with some practical ones, like: What is your average work day like and how does your writing fit into your working schedule? Do you write on the job? You mention having a number of different notebooks going at the same time. I’m interested in how your notebooks fit into your work schedule. In other words, I’d first like to deal with the material aspect of your writing, as it relates to the rhythms of your everyday life.
Nick Piombino: As far as I can tell, my writing has little to do with my schedule as a therapist. But it has much to do with my experience as one. Right now I am seeing patients three days and nights, but for over 20 years I did that plus work at an 8:30 am to 4:00 pm position as a school social worker in New York, and for years before that as a social worker in clinics, hospitals and agencies. I wrote around this schedule somehow, plus went to readings quite often. Nine years ago I retired from my work for the school system. The fact is I have no writing schedule and never have had one. I carry a notebook around with me and write as the feeling hits me. I wouldn’t have it any other way, and deliberately chose to become a psychoanalyst rather than go through with formal literary training. I started as an undergraduate at CCNY where I did honors work in literature. The idea of writing according to some plan, or having a literary career, did not appeal to me. But right now we’re talking about mechanics. At one time I kept several notebooks but stopped doing this after I found it disorganizing. When I found out about blogging (from Ron Silliman and Gary Sullivan) I remembered I had many boxes full of unpublished material, mostly notebooks, but also some lined pads from the 1960’s. I started my blog fait accompli in 2003 in order to get those notebooks out there. I blogged from these notebooks every day for a couple of years, finally over a thousand pages. What I tried to do was create synchronicities by finding passages that corresponded in some way to how I felt the day I was posting the material. One of the synchronicities that happened was that I received the first copies of my book Contradicta (with illustrations by the artist Toni Simon) on the seventh birthday of the blog! The Contradicta started when I found I did not have time to blog and also work on the book fait accompli, which was based on the first three months of the blog. The fait accompli book was published in 2007 by Factory School and the Contradicta book in 2010 by Green Integer.