Caleb Beckwith: In a recent interview with Tan Lin over at Harriet, you give a helpful account of Gauss PDF’s founding. Would you mind recapping this for readers unfamiliar with your practice? Maybe you could also expand a bit here on the site’s editorial agenda and explain how this changed over GPDF’s now four-year history?
J. Gordon Faylor: GPDF was catalyzed by a desire common to many small publications/presses: wanting the work of friends and others made more readily available. I find problematic the vetting processes and sometimes latent conservatism promulgated by publications/labels as a means of caching a curatorially-determined set, and wanted to enable a more open platform for various cultural productions not limited to, but including poetics. Having spent a few years in New York and Philadelphia, I was fortunate to find overlapping groups and networks sufficient for getting a little Tumblr thing off the ground.
This monthly series features highlights from the Cross Cultural Poetics archive. Cross Cultural Poetics is one of the longest-running radio shows in America focused on contemporary poetry and poetics. Based at The Evergreen State College and hosted by Leonard Schwartz, the entire archive, running from 2003 to the present, can be accessed on PennSound.
This month from the Cross-Cultural Poetics archive, I’ve chosen an interview with poet Nada Gordon that originally aired in the fall of 2004. Gordon briefly discusses the eleven years that she lived in Tokyo, as well as the influence and subsequent reaction against the Haiku aesthetic in her work. She reads from the sonically rich and sprawling Are Not Our Lowing Heifers Sleeker Than Night-Swollen Mushrooms? (Spuyten Duyvil) and talks about the importance of cadence in this book, the desire to “beat out a pulse,” as well as to work against any set “rules of composition.” —Angela Buck
This piece is part of Intersecting Lineages, a series focusing on conversations with poets of color following a series of cross-solidarity readings and panels among poets involved with organizations such as Kundiman, Cave Canem, Canto Mundo, RAWI (Radius of Arab American Writers), Institute of American Indian Arts and VONA (Voices at Our Nations Arts Foundation). Celeste Guzmán Mendoza shared an earlier version of this talk at the Intersecting Lineages panel at the 2013 Association of Writers and Writing Programs conference in Boston.
I am not a drama queen but a drama connoisseur. I’ve always enjoyed a good monologue, a booming rant. Since I was child, I would act out monologues, or what I called back then my shows, personas I would create loosely based on a family member (or more) and characters I saw on TV. My favorite was Mae West with a dash of my grandmother, “Why don’t you come up and see me sometime, no que no?”
Natalie Lyalin’s second book of poetry, Blood Makes Me Faint, but I Go for It (2014 Ugly Duckling Press), constantly negotiates issues of scale. The narrator has a “mild stigmata.” In another poem, “Bad things happened, but I harvested a giant pepper and ate it whole.” The narrator is often humble and matter-of-fact, though not without danger or conflict—“terrible jokes leapt out of me,” “I was exhausted and very mean,” “something changes in my eyes and I am terrifying.” This anxiety or unpleasantness isn’t separate from the world—it is one of the cornerstone qualities of living. “My head in an ache from all the life I was in.” The poems show how the experience of living is constantly changing and often horrifying. “The sun had many knives of light.” The poems find a cutting beauty within the terror and uncertainty. This is how life has always been. “What happened in caves in still happening indoors.”
I came upon the work of Francisco Aragón the way the best loves happen: by accident. I was searching on a friend’s Facebook page for a review of a book he had read, and instead came across the cover image of Glow of Our Sweat. Miguel Angel Reyes’ “Glare”—that ecstatic face (a male St. Theresa!) stopped me in my tracks and I was mesmerized. I got off FB and searched Amazon for Francisco’s book. It came the next day, which I spent reading its quiet but emotionally loud poems. Few works make such an impression on me, but these resonated with me like old church bells that I remember as a child.
I never know where to begin to explain what certain poems do—how can we explain a silence that is answered for us, or that a poem so bare and honest and small as “In Secret” can light up immense sensations? I also loved that he wrote about places, films, personages that I know and have connection to—I don’t think anyone has written about the Townhouse bar! Louis Malle’s Au Voir Les Enfants had a deep impression on me. Rilke, Lorca, Madrid, Rome, Jack Spicer (a great love of mine), eroticism’s mysteries and wailings. He touched on these and other subjects, but I saw them as Aragón showed them: in the distinct mirror of his eyes. His work is immediate, true, and disarmingly familiar.
Small-press publishers have the lucky opportunity to talk candidly with authors about the downturns and updrafts of the creative process which brought them to the moment of completion that we call a book. As Omnidawn’s co-publisher and senior poetry editor, I’ve had that great good fortune. It finally occurred to me that the readers and reviewers of these books might enjoy hearing some of this talk, too. Of course, a book of poetry needs no introduction or liner notes. But I’m always interested in any stories about how and where authors’ intentions and the actual creative work tangle together. So I started asking each of our authors a few questions in writing, and then enclosing these “interviews” with our advance/review copies. When the book is published, I post the interview on the book’s web page. The Conversant’s editors have asked if they might select some of those interviews to publish. It is my pleasure to say yes! –Rusty Morrison
This interview concerns Joshua Corey’s book The Barons.
In 2009, the poet Monica A. Hand asked for definitions of “female aesthetics.” While there are no actual definitions of female aesthetics or woman aesthetics, there are working definitions of feminist aesthetics. I was intrigued by this notion of the female (vs the woman, aka l’écriture féminine and Hélène Cixous’s writing from the body) and what an aesthetics of female would like and who could who would claim this aesthetics. A bit later, I put together a panel on Twitter to discuss this concept, and I invited some of the participants from that panel as well as some additional people I thought would have something interesting to say, to have an informal symposium discussion via email. What followed was a series of questions, speculations, ponderings, and anecdotes with Racquel Goodison, Monica A. Hand, Patricia Spears Jones, Ruth Ellen Kocher and Tracy Chiles McGhee from August 13 to 20, 2009. The Conversant has agreed to publish that conversation in two parts. – Metta Sáma
Conducted via email from August to October of this year, this interview with William V. Spanos discusses the long political and personal histories of the academic journal boundary 2, of which Spanos is a founding editor. It pays particular attention to the editorial shifts leading to Spanos’s ultimate dissociation from the journal as well as the evolving function of radical literary criticism within a contemporary political landscape.
Caleb Beckwith: For readers who may not be fully familiar with boundary 2, would you mind speaking to its founding and early years to start? And also, how would you say this focus has shifted in recent years?
The People with Insert Blanc Editor and Publisher Mathew Timmons and Insert Blanc Artist Ben White, features the voices and ideas of The People that make up the cultural landscape of Los Angeles, the west coast, and beyond on KCHUNG 1630AM every 3rd Sunday at 3pm and podcast on iTunes as The People Radio. The People is me, The People is you, The People is we, and You Can Too! … like a Broken Record magically repaired. In this issue of The Conversant, we feature The People episode 16 with Janice Lee and Jared Woodland.—Mathew Timmons and Ben White
Now retired from teaching in the English department at Capilano University, George Stanley is the author of At Andy’s (New Star, 2000), Gentle Northern Summer (New Star, 1995), Opening Day (Oolichan Books, 1983), The Stick: Poems, 1969-73 (Talonbooks, 1974), You (Poems 1957 – 67) (New Star Books, 1974), A Tall, Serious Girl: Selected Poems 1957-2000 (Qua, 2003), Vancouver: A Poem (New Star, 2008) and After Desire (New Star, 2013). Vancouver: A Poem was a finalist for the Dorothy Livesay Prize. In 2006, Stanley received the Shelley Memorial Award from the American Poetry Society, and in 2011, The Capilano Review produced their “George Stanley Issue.” His newest collection is North of California St. (New Star Books, 2014).
David Koehn:Birth Marks. New from BOA. We’ll focus mostly on this, your latest book of poetry, but you have a wide body of work. And Birth Marks makes book number what?
Jim Daniels: I think 14 poetry books, and then the fiction and the chapbooks and other stuff. I actually just got some news this week. My fifth book of stories will be coming out next fall, 8 Mile High. They’re stories about being on the border of Detroit. They’re linked with overlapping characters, but definitely not a novel.