Best American Experimental Writing is an anthology series focused on dynamic literature from both emerging and established writers. The most recent edition, BAX 2015, was released in January of this year by Wesleyan University Press and includes work by poets and playwrights Joyelle McSweeney and Darcie Dennigan. They (virtually) sat down with BAX managing editor Michael Martin Shea to discuss Coke bottles, multiple hearts, flowers of extermination, and blowing up the Cartesian grid.
Michael Martin Shea: Hi Joyelle! Hi Darcie! Let’s start off with your BAX work. Both of your pieces in BAX 2015 invoke the judicial world, creating or projecting an imaginary courtroom in which the action of the writing takes place, so-to-speak (replete with inscrutable judges and their whims). What does this atmosphere of the legal—its trappings and forms of speech—provide for your writing, in terms of either craft or politics (or both)?
Darcie Dennigan: I think authority is funny, author-ity even funnier. The idea that any piece of writing or any writer could settle an argument . . . I like Dead Youth a lot and especially the excerpt in BAX for this reason. Its set-up enacts the absurdity of authority (political and poetic) and its language does too—its wordplay just keeps enlarging (and diminishing) its arguments.