Elaine Bleakney: What a pleasure getting into Cabin Fever/Fossil Record. You’ve said elsewhere that the form of these poems take their inspiration from the painting of Eugene Leroy. Would you tell me about how your attraction to Leroy’s work relates to this choice?
Dan Brady: I was first attracted to the physical depth of Leroy’s paintings. If you look closely at most paintings, you can see individual brushstrokes, but with Leroy you don’t even have to try, the paint rises from the canvas toward the viewer. There is a tactile element to them. I imagine if you ran your fingers over the canvas, it’d feel something like running your fingers over a keyboard — similar depths and ridges. Underneath all that paint, somewhere, is a figure, a representation of a clear subject. That obscuring of the figure through depth was interesting to me. Almost like the subject was drowned in the very media which gave it life.