In the hopes of encouraging a broader exchange among U.S. and Canadian poets, H. L. Hix has designed a series of one-question “mini-interviews” for his Canadian peers. A selection of these interviews will be incorporated into his forthcoming book Ley Lines (Wilfrid Laurier Univ. Press, 2015). The subject of this interview is Brian Henderson’s book Sharawadji.
H. L. Hix: “As if” recurs frequently in English usage, so I don’t want to attribute to it more importance than you mean for it to have, but it seems to have unusual importance in these poems; I counted twenty instances of it in the book, and maybe there are others I didn’t catch. Is “as if” important to this work? Are these poems especially attuned to that mode of hypothesis?
This interview series, “Conversations after the Fall: Interviews with Contemporary Russian Poets,” began as part of my Thomas J. Watson Fellowship year (1992-1993). Stella Morotskaya was born in 1962 in Nizhny Novgorod, and graduated with a major in Computational Mathematics and Cybernetics. She has worked as a programmer, a tour guide, the director of the theater of fashion, a journalist and a host of leading television programs for women. She lives in Moscow, and is a contributing editor at Vokrug Sveta Press (Around the World Press). Her poetry has been translated into German, Hungarian, Polish, Serbian and Chuvash. This interview was conducted in Moscow in 1996.
Philip Metres: You’ve been writing free verse—what poets have influenced you?
(clockwise from the top-left) rob mclennan, Kimberley Dawkins, Amanda Earl and Cameron Antsee
During the 19th year of the semi-annual Ottawa Small Press Book Fair, Liana Voia conducted thirty interviews with participating exhibitors, all of which have now been posted to YouTube. The Conversant here has made several selections.
I have stealthily curated this series since the September issue of The Conversant, not announcing it, nor rationalizing my approach, nor discussing my intentions for undertaking it in the first place. As we glide into or collide with 2014 (depending on your seasonal or existential condition), the New Year deserves some answers, and I figured the optimal way of simultaneously re-introducing the series and illuminating its inspiration would be in the form of a self-interview. Many of you perhaps cringe, as I do, at the often pretentious, self-delighting whimsy or seeming neurological dysfunction such a format seems to underwrite. That is not my intention, and the Q&A below will really be a back-and-forth of necessary echoes and refrains. I hope that this reflective self-exchange does not uphold the mirror, but breaks it into many pieces (at least for myself). More importantly, I hope it establishes for you readers and fellow poets some discussion and perhaps even an exchange with me here on this site. I would like to some of you send us your own self-interviews or else volunteer to undertake this series’ line of inquiry.
Nature Theater of Oklahoma talks again with the venerable comedian, musician, magpie—Reggie Watts. A conversation about self-image, self-care, imitation and actualization. How does an artist become an original, and what does that even mean? How can we build into this idea of “image” the potential and even mandate to change and grow into the future? And how can we safeguard for ourselves the joy we have in making the work?