At Fringe, Ana Lena Phillips speaks On Poetic Objects and Poetic Economies or the joy of broadsides:
The book is the perfect vehicle for prose. There’s spaciousness, in among the sentences, and the act of turning the page helps your brain move along. . . . The page-turning does not disrupt the text—we all understand that. But with a poem (even sometimes with a long one), lingering, not motion, is the default mode. And that’s hard, because who can linger through an entire book? Sometimes you want to read the poem and just be done with the reading part. To sit with the poem while it stands pat.
A poem, if it’s a good one, is bigger than a book. This probably violates some principle of physics—or illustrates it, more likely. And, like physics, it can be overwhelming.
Check out the Kentucky Arts Council’s list of other funding sources for the arts.
qarrtsiluni has put out a new call for submissions — this time on the theme imitation:
Imitation — that sincerest form! — is in art all too often maligned. “Better to fail in originality than succeed in imitation,” no less a writer than Melville once sneered. For Emerson, imitation was “suicide.” Especially since the Romantic revolt, writers and artists in the West have taken for granted that originality is the soul of creation.
Originality, though, is crippled without discipline, and imitation is an uncompromising practice.
And Nimrod is looking for writing on The View from Here:
All interpretations of this theme are welcome. At the moment, we see the “view” as from above or below, from inside or outside, from the heart and the head. The view may be from a window or a mountaintop, from flight or a great burning star. It may be narrow or expansive. “Here” may refer to a specific geographic location: Africa, Brazil, Egypt, Akaroa, and so forth. Or it may be the attic or the basement, the front porch or the back garden.
