Third Factory/Notes to Poetry

art is autonomous

Attention Span 2009 – Joanna Fuhrman

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Rachel Loden | Dick of the Dead | Ahsahta Press | 2009

Loden’s rewriting of Creeley, Rilke and Stevens is as witty and devastating as contemporary poetry gets.

Chris Nealon | Plummet | Edge | 2009

“Ha-ha General Squier, the muzak has formed real songs.? / No longer will you fool me with your tricks, John Ashbery!” Not just witty, but actually funny.

Douglas Rothschild | Theogony | Subpress | 2009

Finally, right? Rothschild is my Virgil in Disneyfied New York City.

Aleksandr Skidan, trans. Genya Turovskaya | Red Shifting | UPD | 2008

The title perfectly captures the passionate and unpredictable shifts and leaps in this book. This is the type of book that is so good and so different from anything else I’ve ever read it’s shocking.

Landis Everson | Everything Preserved | Greywolf | 2006

I was surprised to find I liked the later poems best. “Because I never wrote it / your poem is better than mine.” Beyond perfect.

Denise Duhamel | Ka-Ching | University of Pittsburgh Press | 2009

Such a great assortment of forms here! Her prose poem in the voice of the Florida widow made me cry on the subway platform.

Rachel Levitsky | Neighbor | UPD | 2009

“The problem with representational art is the audience is often / uninterested in what you represent.”

Bill Berkson | Portrait and Dream | Coffee House Press | 2009

Okay, well, I just started reading through this, but I’ve loved his previous collections and I was excited to see my favorite poem of his from the old New York School anthology is the first in the collection.

Rane Arroya | The Buried Sea | University of Arizona Press | 2008

I recommend the poem “The Singing Shark Dream, or Toto, I Don’t Think We Are in Tegucigalpa Anymore,” a crazed rewriting of West Side Story.

Sheila Callaghan | That Pretty Pretty; or, the Rape Play | Produced at Rattlestick Theater, published in American Theater magazine | 2009 (April)

Okay it’s a play, not a book, but I wanted poets to see it or read it because it overlaps with Flarf in some interesting ways. It’s also just really funny and trenchant and has a great dramatic structure. The most misogynist play I’ve ever seen was at Rattlestick, so it was especially gratifying to see a feminist send-up produced in that space.

Adeena Karasick | Amuse Bouche | Talonbooks | 2009

AB boasts 18.5 mm wide soft margins and padded information. It can also be used as a headrest.”

More Joanna Fuhrman here.

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