“I think collaborations are an especially important reminder that all authors are really co-authors, co-conspirators in an ongoing series of thefts.” —Kristina Marie Darling
Ghost/Landscape, a poetry collection co-authored by Kristina Marie Darling and John Gallaher, was published in 2016 by BlazeVox. We took this opportunity to discuss the book and its inception/creation, hauntings, exorcisms, hybrid forms, lyric trespassing, the multiverse, and the ghost line.
Virginia Konchan: How did you conceive of the idea for this collection? Can you speak a little bit about the compositional process, and how it unfolded over time? I’m particularly curious about the titling, and the arrangement of the poems.
Virginia Konchan: In both of your recent books you explore the semiotics of fashion in different ways. In 1967, Barthes made the connection, in Elements of Semiology, between text and textiles, describing the text as an interwoven fabric of quotations drawn from culture, rather than from any single reading experience. Referring to textual production as a “garment system,” Barthes describes the act of speech as comprised by “all the phenomena of anomic fabrication” or of individual style—tracing the very origin of the word “text” to the Latin past participle texere, to weave or fabricate. The author’s successor, the scriptor, exists simultaneously with the text, not in a subject/predicate relationship, dislocating the text’s meaning to “language itself” and the effect on the reader.
From the punk band Glamour Kills to the relationship between fascism and fashion (a symbolic code too often replacing signification through speech or writing for women with a codified language—literalized through semaphores such as sex bracelets worn by middle-schoolers indicating what sex acts they perform, or a diamond ring signifying a woman’s unavailability as well as cultural “worth”), the idea that “clothes make the man” takes us to the metonymic conflation, in “polite society” between a well-dressed or spoken individual and his or her character.
Can you speak to the semiotics of fashion (as a signifying system) in your two books, which present female speakers with various degrees of agency, as well as to silencing? I’m especially curious how you relate the semiotics of DANCE, Lightsey (la geste rather than logos, as signifier) to female agency.