Thomas Fink: Please tell me about your development of a relation between some of the photos in SLOT—especially those of the expressive hands—and the poetic text.
Jill Magi: You ask about the photographs. I recently wrote an essay on poetry and photography for Poetry Northwest. Here is a snippet:
As I worked on SLOT, I intuited that page after page of text only was not ideal, even if that text contained the visual via description and self-reflexive language on the act of looking. SLOT is about resisting landscaped memory in the post-disaster experience. Looking, including looking away and not picturing, is key in this work that asserts the importance of the personal gesture (incorporated memory) amid official versions of an experience (inscribed memory). The photos in SLOT attempt a turn away from received images of the World Trade Center disaster while refusing erasure.
I note the presence of my hands in the photos: untangling string and uncovering veiled museum brochures. I think of the common Estonian greeting my father taught me: “how does your hand go?” where “how are you doing?” is indicated by how well you are making, working.