The entirety of my sweet baby "( Kiln )" cut up entirely as it is breathing nicely in PLINTH innards, the preface, the entire, the father built into it in the prose sections in the beginning middle ( he found his way in with a swooping rad line, catch it ), the autobiographical, the traipsing surreal deviations from my bodily existence, there.
Also, "Black Theatre" which strikes to me outward, Cesaire, Rimbaud.
Check it.
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OK, reading notes. Long winded roll off of observations that I owe to sort out how & what I think about the matter, the makers of them:
End of Septemberish - Poet's Corner, featuring Amy Wright, was an easy, considered, and delightful time. Wright read from her Cracker Sonnets, her first full length collection. I count myself among the very fortunate to have been the recipient of a deft grace that canopies when she reads. Among her reading, several new things began to formulate re: her full-length and her poetics, in general (I remember somewhat her reading last February at Dino's in the first E t A l. Reading, though my nerves were shot and I was excited to be hosting a reading). Some of which are:
Dips/leanings in/to a prose/narrative arc aid in the contextualization of 'poetic' things, which is they are made more stark and reverential when given a curb upon which to rest/differentiate itself;
Amy's cracker pieces were more biscuity than crackery: what seemed natural and inevitable corridors through which air and rest and breath were able to move in more easy fashion carved from language; hungrous eroticism with language; Pavlovian (physiological tied to the emotional/psychological/linguistic);
Connotations of the term 'cracker' had been fought against, though are still present in the text as it is rendered sonically;
Lovely; in terms of a performative syllabics, Wright's pace, texture, attention to alterations in altitude to theme, pedagogy;
An attention to the organic, natural parts of the earth, those not necessarily functional to or dominated by the synthesis-reproductive systems of people are given a respect that resides as a default and unearned by intrinsically present characteristic of life, as are the living things thereat/in/of; the matter of fact unveiling of esoteric, chosen, re-utilization of terms and words that are most connected with, technically correct descriptors of bug and bug-life achieved a repetitive crescendo and roused a sense of surprise and brisk and buoyancy.
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Rad show ( Korean JRU! + Roadblock ) as newer DRKMTTR opens more of itself to the people with more diverse arrangements in social eventry, as in their poetry reading scheduled for OCT 20 with, very arguably, one of the most exciting poetic figures to cruise through to Nashville in recent memory. Boost House founder, vegan, considerate human being, helvetica fiend, & internet poet Steve Roggenbuck. He'll be reading w recent 10,000$ dollar Rattle winner, local poet Tiana Clark + music, somewhere in there.
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Then made the Wyatt Prunty / Nathan Spoon reading as the latest execution of Ciona's Lyrical Brew.
I'd seen Wyatt read previously at Parnassus so knew what was in store, a solid, formalist, traditional, story tipped performance whats ease was matched by the the softening of the the season upon the glass surrounding us in that barista zone; Nathan I had not seen but informally known for some amount of time after seeing him frequently and chatting poetry with him, also at Parnassus.
Here is the direct, because my eyes are doubling with fatigue, note throw, with perhaps some over arching explanations as to what I was even talking about:
A listing, phonemic attention, to nouns + object, of those ready/concrete, imagistic course/nexus;
Phrasal, read as formal upending, augmentation;
Abrupt thrusting "her face wiped" in brevity + syntax (resists the will to explain which = the tendency of over explaining);
"Who knew the bones eternal as they are could be this amorphous?" / Ah: Here is one layering of my perception upon the work: the correlation / proximity between the concrete and the temporary (the physical with the emotional; the known with the uncertain; the universal with the solipsistic). Stone as related to sorrow. This also in relation to, or incorporating, the classic and the contemporary (or the past and the present, the traditionally significant/powerful/stable/masculine with the ineffectual/meek/unstable/ feminine), enacted most vividly in references to classical figures (i.e. Greek figures, gods), this duality (and totality accounted for thereof) also has tinges of Fatalism vs Re-invention (Fate/Will). A trust in a fragment not ever made or working at completion + finality + end.
"Casually wrinkling waters…" / "A too easy assemblage" / A development of the present elegy, elegy of the present ; Offering/supplication (inside the procedure of writing). Among such totalitarian coverage of the singular voice in the poem, does the space of the poem enable an intrinsic potency/volume/significance/hearing (is the poem a hearing? as in trial, a testimony), the permission of the I?
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E t A l. Poetry Reading went magnanimously, no review possible considering I was inside of it, suffice it to say that I was fortunate enough to host Lucca Soria, Hanna Gamble, & TJ Jarrett. Much obliged to them for placing themselves on the line and amping the state of poetry in town.
(How it rendered in ma head a few days prior, drawn as to display the benefits of a non-seated crowd)
