Third Factory/Notes to Poetry

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Posts Tagged ‘Don Mee Choi

Attention Span 2011 | Sawako Nakayasu

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Juliana Leslie | More Radiant Signal | Letter Machine | 2010

The poems feel diaphanous, and like they wouldn’t fare too well in a bar fight, except for the fact that we are all thrown off our stools by a strange and beautiful light that disappears when you turn away, or does it.

Don Mee Choi | The Morning News Is Exciting | Action | 2010

There is so much I love here. If this is postcolonial literature I want to write postcolonial literature too, though I can’t, being Japanese and/or American.

Zachary Schomburg | The Man Suit | Black Ocean | 2007
Zachary Schomburg | Scary, No Scary | Black Ocean | 2009

Love is when a boat is half-buried by all the cobwebs of eyelashes in the ocean.

Kiwao Nomura, trans. Kyoko Yoshida and Forrest Gander | Spectacle & Pigsty | Omnidawn | 2011
Hiromi Ito, trans. Jeffrey Angles | Killing Kanoko | Action | 2009

Nomura’s poems are just as hypnotizing as they are in the original Japanese–darkly gorgeous and radiant, as the ‘orgasm-monger plods past/ nerve ants plod past.’ Norma Cole in her book of essays compares the expansiveness of theater-making to that of her experiences with group translation, and I think she is onto something there–perhaps the future is in collaborative translation.

One of the first things I heard about Hiromi Ito was that Japanese women in the 80s were trembling in the closet reading her work with a flashlight. Some have chalked up her work to an aesthetics of the shocking (as in, Kanoko is the name of her own daughter), but it’s been a very important part of Japanese feminist poetry these last few decades.

Frances Chung | Crazy Melon and Chinese Apple | Wesleyan | 2000

Chinatown is a place to go eat chinks. It’d be kind of silly to label this work something like the Chinese-American New York School, but I just did and yet it’s much more than that–in fact the last thing I want to do is to wrap it up under some Chinese-American bubble because it cuts across these lines, similar-different to Teresa Hak Kyung Cha. Walter Lew sent it to me this summer when I was bugging him about Yi Sang. Thank you, Walter. Thank you, Frances. I have always loved the color celadon, but now joining it on the palette is duck shit green. 

Norma Cole | To Be at Music: Essays & Talks | Omnidawn | 2010

A guided tour of Norma Cole’s readings, thinking, and practice…including some excellent writings on translation, Mina Loy, and color. Now the heartbreak of the rational.

Lily Hoang | The Evolutionary Revolution | Les Figues | 2010

Their bodies begin as uncooked noodles, stiff and starchy, but as their heads wander, they limpen, soften, become saturated with dream.

Miryam Sas | Fault Lines: cultural memory and Japanese surrealism | Stanford | 1999

It’s true that I’m working on a Japanese Modernism project right now, but as I go back into this book, I am finding that it offers a conversation about more than just that particular time and place–examples of how to think about cultural transactions, or write about writing, or consider Surrealism inside and outside of its original and secondary contexts.

Marisol Limon Martinez | After you, dearest language | Ugly Duckling | 2005

This analogue version of hypertext is a wonderful way to house a narrative, and makes me think about more analog-digital potentials in poetry. (I also recently realized that I am married to a technophile-technophobe.)

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More Sawako Nakayasu here.

Nakayasu’s Attention Span for 2009, 2008. Back to 2011 directory.

Attention Span – Elizabeth Treadwell

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Sarah Vap | Dummy Fire | Saturnalia | 2007

“Sitting around in paper gowns, in deep study.”

This book twirls faithfully its own slippy vernac.

Veronica Forrest-Thomson | Collected Poems | Shearsman | 2008

“Folded & re/folded the/map of the/town is pass/ed through/our lives/& hands ac/ross the table.”

A conjure board for the recent nearby.

Kim Hyesoon, trans. Don Mee Choi | Mommy Must Be A Fountain of Feathers | Action | 2008

“she hammers away till the keyboard is bloodied”

“I want to shove a finger into the silence and make it vomit.”

Etel Adnan | In the Heart of the Heart of Another Country | City Lights | 2005

“There should be only one school, the one where you learn the future…without even any students. Located in the guts of the species.”

Ines Hernandez-Avila, ed. | Reading Native American Women: Critical/Creative Representations | Altamira | 2005

“This is not a treaty!”

Myung Mi Kim | Under Flag | Kelsey St | 1991

“These men these women chant and chant”

Rereading in anticipation of her new book Penury. As Sarah Anne Cox said to me recently, “it’s hard to find something that truly moves you.”

Diane Glancy | Pushing the Bear: A Novel of the Trail of Tears | Harcourt Brace | 1996

Rereading. A recent article in the New Yorker, mired per usual in the vast inaccuracy of the ruling class, jokingly compared a boycott of the Beijing Olympics on account of Tibet to a boycott of those in Salt Lake City on account of the Cherokee. I wish more people would read this luminous, frightening, deeply informative book, which to me has an affinity with Toni Morrison’s Beloved.

Christian Wiman, ed. | Poetry: the Translation Issue | Poetry Foundation | April 2008

The first issue I’d read. I liked it.

Alice Notley | In the Pines | Penguin | 2007

Sarah Anne Cox | Truancy | Dusie | 2007

VA | board books, picture books, & chapter books | various | various

I could live without some of the tropes, others I probably could not.

Caroline Bergvall & C.S. Giscombe | Reading at Small Press Traffic | November 2008

I am eagerly awaiting this event.

Yedda Morrison | girl scout nation| Displaced | 2008

“and yet/a doe”

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More Elizabeth Treadwell here.