Poetry, like music, like dance, might be defined as the precision of ecstasy, and the ecstasy of precision, an ecstatic precision, and measured ecstasy.
On the differences between folk and commodity art, as per slam and academia
By Joe Weil
I read Williams the same way I read vampire comics: for pleasure and for the purposes of theft. This is the folk art way, and it survives commodity art even when it is packaged and sold.
Jan
25
2012
I read Williams the same way I read vampire comics: for pleasure and for the purposes of theft. This is the folk art way, and it survives commodity art even when it is packaged and sold.
All the tasty bits of vintage Murakami are here: dull but steadfast male leads, hypersexual and hypersexy teenagers, strange conspiracies loaded with uncanny coincidences, and, of course, forays into parallel universes.
Jan
23
2012
All the tasty bits of vintage Murakami are here: dull but steadfast male leads, hypersexual and hypersexy teenagers, strange conspiracies loaded with uncanny coincidences, and, of course, forays into parallel universes.
At one point, I made a very precarious living playing piano in a couple bars, one of which was run by a coke fiend who had a driver pick me up for the gig three times a week.
Jan
18
2012
At one point, I made a very precarious living playing piano in a couple bars, one of which was run by a coke fiend who had a driver pick me up for the gig three times a week.
“Poetry Means You’re Writing About the World”: An Interview with Anne Winters
By Sarah Eggers
I was introduced to Ms. Winters’ work in graduate school and, ever since, have been a ardent admirere of her lushly orchestrated, yet intimate and searingly honest poems about the “big issues” that so many contemporary poets seem to shy away from: race, class, poverty, and gender.
Jan
16
2012
I was introduced to Ms. Winters’ work in graduate school and, ever since, have been a ardent admirere of her lushly orchestrated, yet intimate and searingly honest poems about the “big issues” that so many contemporary poets seem to shy away from: race, class, poverty, and gender.