Wednesday, April 10, 2013

News


Pleased to have poems in new places!

First, there's The Winter Anthology, a rigorous and beautifully edited journal, spearheaded by T. Zachary Cotler. In its three slim volumes, TWA is consistently impressive. 

Then, there's the pilot issue of Letters, a journal out of Yale's Institute of Sacred Music, committed to the rich intersections between literature and spirituality. 

It is exciting to see inventive new journals like these, who state their aesthetic and social aims explicitly, and do so enthusiastically, desirous to add to a larger poetic conversation. 

Also, a paper of mine on jazz structures in Robert Creeley's early poems has been chosen for the upcoming AAL conference, Modern Soundscapes, in Sydney. As this will be my first conference presentation, I am nervous as, and eager to see how this conference business works. I have included  part of my abstract below for the curious:

"Recent critical attention upon musico-literary convergence, exemplified in the interdisciplinary fields of “melopoetics” and widespread discussion of “jazz poetry,” has significantly broadened the horizons of both literary and music criticism. What is lacking, however, is criticism reflecting the implications of such convergence for creative writing, a uniquely craft-oriented approach to both fields capable of aiding practising poets inclined to experiment with musico-poetic convergence. What is required of such criticism is: first, a thorough grounding in the underlying concepts, procedures, and structures that govern the formal make-up of both the musical composition and the poem under discussion, taking into account period-styles and the peculiarities associated with genre and mode; and second, a critical apparatus for identifying corresponding structures in the composition and poem; in other words, a taxonomy of technical correlatives.

My paper, informed by my perspective as a practicing poet, will examine Robert Creeley’s early poem, “A Sight,” alongside “Shaw Nuff,” an early bop composition by Charlie Parker and Dizzy Gillespie, tracing specific technical innovations in Creeley’s work to Parker and Gillespie’s variation of the “I Got Rhythm” changes. I hope to use the findings as instances or exempla of musico-literary convergence in order to propose a flexible and imaginative framework to account for the translation of musical into poetic form."