Archive for November, 2012|Monthly archive page
In The Guardian, novelist Lawrence Norfolk selects Bunting’s Persia as a “book of the year”: “Finally, another encounter with otherness: Bunting’s Persia reissued this year by Flood Editions and collects translations made by Basil Bunting of medieval Persian poetry. These lines were translated from original verses by Manuchehri, who wrote more than 1,000 years ago.
Much do I wonder at one whom sleep bears away
where there is yet a bottle of wine in the house
and yet more wonder at him who drinks without music …”
Find all of the selections here.
now available: Lobster Palaces by Ann Kim
Flood Editions ISBN 978-0-9838893-3-5 $14.95
“In Lobster Palaces, Ann Kim works, for the most part, in very abbreviated forms, resembling, more than anything else, Japanese tanka orhaiku, with which they share other affinities, such as glancing perception, but have nothing of the flavor of japonaiserie that afflicts almost all English-language poetry written in that vein. Ms. Kim’s poetry is unlike that of any other poet, consistently startling and, in remarkably few words, exactly right. How she brings it off is somewhat mysterious, in the way that art often seems to us. Our intelligence, instinct, and range of experience get brought into the mix on their own and instantaneously, a neural event: intuition speaking to us. Likewise, what we think of as the imaginative faculty is merely perception operating at warp speed, i.e. the ‘flights of imagination’ are, in fact, ‘arrows of perception.’ Accuracy = Beauty. The delight to be found in the imaginative act is surprise, followed by satisfaction. ‘Gosh, that’s so right. How did she do that?’ From Qian Xu’s ‘Furled Plantains’: Green wax candles that put forth no flames.”—August Kleinzahler
3 AM Magazine has posted a wonderful interview with Tom Pickard by Alex Niven:
3:AM: Do you think you’ve derived a lot from being on the outside? Not just professionally, but also in terms of England and Britain, do you have a sense of being on the margins, and deriving a poetic subject from a geographical and political hinterland? Do you think it’s an impetus?
TP: It is. I’ve thought a lot about that. You know, I had to spend many, many hours in social security offices, because they keep you waiting all day there. And in my case because I said I was a poet I had to go in three times a week and spend half the day in a dole office. So you do see the depth of poverty around you, because that’s the bottom. And I identified with that, and it gave me a sense of belonging, if you like.
Read the rest here.