Interview with the Self by Jacob Perkins & Matt Nelson Q: In what way has Paul Legault improved your sex life? A: It’s a tough question. We’d like to point out that we didn’t get into sir Legault on our own. Like any good relationship it takes, at the very least, two. Our friend read from his book in the subway and all she had to say was, “This guy will turn you inside out,” which he of course didn’t. No one can do that to you and if they try, you should call the proper MTA authorities. But he did turn us outside in, as in what the ufkc? His poems trick you into thinking you’re reading multiple voices shouting in a space where shouts can echo, colliding with each other and creating new sounds. But the intellectual gift is that all the voices are thrown. There is only one Wizard in this Oz. Legault takes control of your equilibrium and maintains a kind of trustless navigation that is impossible to follow on first read. Q: What method of Paul Legault’s language turns you on and why? A: Well, if you are one of those who can pick out patterns, Mr. Legault, at least in The Other Poems, which, by the way is titled on the sub-title tacked to most collections of poetry, sticks pretty close to what we would describe as a format. In our own work the format relies on a series of folds (literal) which we attack as a unit, one space at a time, passing our work back and forth without verbal cooperation. This results in a timing based on mutual challenge and uncomfortability. It is unpredictable but refreshing, the rhythm. Paul (can we call him Paul?) discomforts the supposition that what you read before was what was you read before. Every line, every word is a question game. When did the adjective turn into a noun? How can time be turned into space with just the tiniest turn of a preposition? These are the types of strange knife twists Paul manipulates causing a poetry hemorrhage, showing you the insides of words.
POETRY MONTH 30/30/30: Inspiration, Community, Tradition: Day 4 :: Tishon Woolcock on Orhan Veli Kanik
Today we begin the community portion of our Poetry Month: Inspiration, Community, Tradition series with Peter Reilly writing on Mary Oliver's poetry and its influence on his work. PR: Mary Oliver's gift is to describe the natural world simply, in a way that reveals the deepest secrets of our human heart. She is grounded in the reality of survival - life and death - predator and prey; yet never loses her eye for the eternal, for amazement, and for the magic of transformation. From "Wild Geese" You do not have to be good. You do not have to walk on your knees for a hundred miles through the desert repenting. You only have to let the soft animal of your body love what it loves. [caption id="attachment_434" align="alignright" width="300" caption="photo: Brian Reilly"][/caption] But little by little as you left their voices behind, the stars began to burn through the sheets of clouds and there was a new voice which you slowly recognized as your own that kept you company as you strode deeper and deeper into the world, determined to do the only thing you could do - determined to save the only life you could save.
POETRY MONTH 30/30/30: Inspiration, Community, Tradition :: Overview and DAY 1: Lynne DeSilva-Johnson on Mina/Traver Pam Dick