experimental poetry

The Believer interviews Christian Bök

The June 2009 issue of The Believer features an interview with Christian Bök (Eunoia) by Jonathan Ball.

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The Globe and Mail previews Joy Is So Exhausting

Susan Holbrook's second collection of poetry, Joy Is So Exhausting, is forthcoming from Coach House this fall. A previously-unpublished poem from the manuscript appears exclusively on the Globe and Mail's books blog, 'In Other Words'. In the post, Dr. Thomas Dilworth examines Holbrook's use of metaphor in her piece ('Red Coral-to-Wet Castanet.')

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Jacket Magazine interviews Rachel Zolf

Issue 37 of Jacket features an extensive conversation between Rachel Zolf (Human Resources) and Joel Bettridge about the accelerated pace of Zolf's reading style, her work-in-progress, The Neighbour Procedure, and a great deal more.

Here is a taste from the beginning of the interview:

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Readings by Christian Bök and Rachel Zolf reviewed

Recent dispatches from poetry bloggers about San Francisco's Small Press Traffic showcase of the Canadian avant-garde, featuring Christian Bök (Eunoia, Crystallography) and Rachel Zolf (Human Resources), marvel at the 'etymological efflorescence' and 'sheer performativity' of the reading.

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Christian Bök's polarizing poetry

The Stentor (of Lake Forest College, Illinois) interviewed English and Music students after a performance by visiting artist Christian Bök of Eunoia and his sound poetry. It is interesting to see how Bök's work polarized the audience along certain lines, into certain aesthetic camps informed by contrasting values:

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Fraser Sutherland on Nerve Squall

By Fraser Sutherland
Globe and Mail
Saturday Books Section

The aptly named Nerve Squall, this year's $50,000 winner of the Griffin Prize's Canadian division, is an excitable collection of poems about birds, fish and clouds. Not that they are separable, since the thumbnail sketches with which the author decorates her book often depict guppy-like creatures swimming through cloudbanks, or poultry apparently caught in a hurricane. With the book's first word-string, Saskatchewan poet Sylvia Legris begins as she means to proceed.

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