The Poetic Research Bureau, a California-based publishing collective, hosts one of the longest active reading series in Los Angeles, based in Chinatown’s Arts District. Its publishing emphasis is on ephemeral and short-run books and folios, and its directors seek to cultivate composition, publication and distribution strategies that enlarge the public domain. The Conversant has invited the Bureau’s co-directors Joseph Mosconi, Andrew Maxwell and Ara Shirinyan to engage in an ongoing discussion concerning the Bureau’s various activities.
Joseph Mosconi: People may know the Poetic Research Bureau as a reading series in Los Angeles. But we are also a fledgling publishing collective and have tried to forge an identity through various essays and shared statements. So I’d like to start off by addressing the tangled topic of our poetics, shared and unshared, the different assumptions each of us hold about poetry and aesthetic practice and perhaps loop back to how coterie may or may not play a part in this.
Ara, you identify strongly as a conceptual writer. Your imprint Make Now Press has published what many consider to be landmark books in conceptual poetry by Kenneth Goldsmith, Yedda Morrison, Rob Fitterman and others. You were even included in Against Expression: An Anthology of Conceptual Writing.
Andrew, in your poem “The Conceptual Poet and the Hiring Committee,” you seem to criticize the figure of the conceptual poet as a careerist “open to traveling for panel appearances” and “envious of painting’s egress.” Elsewhere you write: “Against Expression. Really?” and describe it as “A hold-back project, as nostalgic as self-loathing, even where the self is accidentally yours.” And yet you are no enemy of proceduralism and “historical thefts and pastiche.”