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681 <div class="sqs-layout sqs-grid-12 columns-12" data-type="page" data-updated-on="1690767032394" id="page-64bf3541d5474520f6b55f47"><div class="row sqs-row"><div class="col sqs-col-12 span-12"><div class="sqs-block html-block sqs-block-html" data-block-type="2" data-border-radii="{"topLeft":{"unit":"px","value":0.0},"topRight":{"unit":"px","value":0.0},"bottomLeft":{"unit":"px","value":0.0},"bottomRight":{"unit":"px","value":0.0}}" data-sqsp-block="text" id="block-64bf3541d5474520f6b55f48"><div class="sqs-block-content"> 682 683<div class="sqs-html-content" data-sqsp-text-block-content> 684 <h2 style="white-space:pre-wrap;"> <strong>Issue 11 Foreword</strong></h2><p class="" style="white-space:pre-wrap;"><br></p><p class="" style="white-space:pre-wrap;">For the past year, time has been falling through my hands like hose water. I moved from Iowa City to Denver to begin a PhD program, which quickly took over my life, my body, my consciousness, my time. It feels like a blink of an eye ago that I was sitting in my then-empty apartment, which I have since filled with the signs of my life, finishing the foreword for Issue 10 in July 2022. Here I am, a year later, penning the Issue 11 foreword. As such, I want to begin this introduction with a sincere apology. I wasnât able to sustain the bi-annual publishing calendar that I aim for with <em>Guesthouse</em> in 2022â2023, and I wasnât as communicative with our audience and contributors as I should have been. I so appreciate the grace and patience that has been extended to me by all of you, our fans and readers. And by our fantastic contributors, who have waited a long time to share these 30 pieces of visual and literary art with you. I also want to thank my readers and editorial team, especially Harrison Cook, as well as the Issue 11 production editors, Olivia Muenz and Nat Raum, who stepped in to help finalize this issue at the eleventh hour. It is my true hope and dogged goal that our 2023â2024 season will get us back on track, with Issue 12 forthcoming in December 2023. There is so much goodness ahead. Thank you for sticking with us â and for being here now.<br><br>It is my pleasure to discuss the marvelous work you will find in these pages, beginning with <a href="/i11-green-lauren-poetry" target="_blank"><strong>Lauren Greenâs poem, âLisbon,â</strong></a> a poem that ties a tentative knot between present and past. Greenâs speaker evokes her grandmother âin her dressing gown, remembering / the days, how they shook and lingered /over the calçada. [...] Between us, a portal wends / like a crack in a windshield.â From this crack in the continuum, Green can merge her speakerâs subjectivity with that of her grandmotherâs: âHow still / we must stay while waiting [...] for our fatherâs voice to drop down,â she writes, âa rope that frays instantly to flame.â âOur father,â of course, evokes the presence of a religious figurehead, but it also blurs the line that differentiates the generations. Similarly, <a href="/i11-cassel-monika-poetry" target="_blank"><strong>Monika Casselâs âGreat Uncle Carl-Christian (b. 1903) With Stagâ</strong></a> begins in family history, with a photograph: the titular character standing in the woods. âThe rifleâs / leather band, slung round his shoulder, gleams. [...] Stretched out / across the frame, the stag lies at his feet.â The speaker, from her present vantage, knows what will unfold in the decades this young man will soon live through; the violence in the photo becomes prescient, knowing, a symbol of darkness, hubris. âHow long still will that future bend to his imagining?â the speaker asks. History and memory become malleable in the poemâs last moment: âThat canât be my father, my aunt says, peers at the photo print. / Heâd never make a kill that messy, or pose with it.â <a href="/i11-nicholls-evan-poetry" target="_blank"><strong>Evan Nichollsâ suite of poems</strong></a> pairs well with Casselâs, as it looks closely at idioms in English that have to do with guns and gun violence. In âGun Down,â Nicholls writes, âThe gun fell into the lake. The gun fell onto the scaffold. The gun fell for the trombone. It was a meet-cute. The gun fell over. The gun fell like a crutch almost every night.â By analyzing the language of guns, and by recontextualizing, destabalizing, literalizing this language, Nicholls challenges us to think of how violence exists in and across language.</p> 685</div> 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711</div></div><div class="sqs-block image-block sqs-block-image" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690257497615_10722"><div class="sqs-block-content"> 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 <div 759 class=" 760 image-block-outer-wrapper 761 layout-caption-below 762 design-layout-inline 763 combination-animation-none 764 individual-animation-none 765 individual-text-animation-none 766 " 767 data-test="image-block-inline-outer-wrapper" 768 data-sqsp-image-classic-block-layout="inline" 769 > 770 771 772 773 774 <figure 775 class=" 776 sqs-block-image-figure 777 intrinsic 778 " 779 style="max-width:1280px;" 780 > 781 782 783 784 785 786 787 788 <div 789 790 791 class="image-block-wrapper" 792 data-animation-role="image" 793 794 795 796 > 797 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 798 799 800 801 has-aspect-ratio 802 " style=" 803 position: relative; 804 805 padding-bottom:61.171878814697266%; 806 807 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 808 " 809 > 810 811 812 813 814 815 816 817 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/460dae26-cab8-4d34-8240-d8f7045e3aa9/13.Prac%CC%A7a_dos_Restauradores__em_Lisboa.jpg" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/460dae26-cab8-4d34-8240-d8f7045e3aa9/13.Prac%CC%A7a_dos_Restauradores__em_Lisboa.jpg" data-image-dimensions="1280x783" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/460dae26-cab8-4d34-8240-d8f7045e3aa9/13.Prac%CC%A7a_dos_Restauradores__em_Lisboa.jpg" width="1280" height="783" alt="" sizes="(max-width: 640px) 100v
817w, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/460dae26-cab8-4d34-8240-d8f7045e3aa9/13.Prac%CC%A7a_dos_Restauradores__em_Lisboa.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/460dae26-cab8-4d34-8240-d8f7045e3aa9/13.Prac%CC%A7a_dos_Restauradores__em_Lisboa.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/460dae26-cab8-4d34-8240-d8f7045e3aa9/13.Prac%CC%A7a_dos_Restauradores__em_Lisboa.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/460dae26-cab8-4d34-8240-d8f7045e3aa9/13.Prac%CC%A7a_dos_Restauradores__em_Lisboa.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/460dae26-cab8-4d34-8240-d8f7045e3aa9/13.Prac%CC%A7a_dos_Restauradores__em_Lisboa.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/460dae26-cab8-4d34-8240-d8f7045e3aa9/13.Prac%CC%A7a_dos_Restauradores__em_Lisboa.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/460dae26-cab8-4d34-8240-d8f7045e3aa9/13.Prac%CC%A7a_dos_Restauradores__em_Lisboa.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 818 819 </div> 820 </div> 821 822 823 824 825 826 827 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 828 <div class="image-caption"><p class="" style="white-space:pre-wrap;">â<em>Calçada Portuguesa</em> â Portuguese Calcada â or mosaic (also known in Brazil as Portuguese stones) is a specific pavement, used mostly for finishing the walkways and sidewalks, alleys, squares and other bustling places.â (<a href="https://www.adventureflair.com/calcada-the-portuguese-pavement/">source</a>)</p></div> 829 </figcaption> 830 831 832 </figure> 833 834 835 </div> 836 837 838 839 840 841 842</div></div><div class="sqs-block html-block sqs-block-html" data-block-type="2" data-border-radii="{"topLeft":{"unit":"px","value":0.0},"topRight":{"unit":"px","value":0.0},"bottomLeft":{"unit":"px","value":0.0},"bottomRight":{"unit":"px","value":0.0}}" data-sqsp-block="text" id="block-yui_3_17_2_1_1690318740799_12349"><div class="sqs-block-content"> 843 844<div class="sqs-html-content" data-sqsp-text-block-content> 845 <p class="" style="white-space:pre-wrap;"><a href="/i11-allio-kirstin-poetry" target="_blank"><strong>Kirstin Allioâs poem, âMy Mother Named,â</strong> </a>a piece about early influence and becoming, is one of several in Issue 11 that speak to experiences of gender. A response to and reframing of Genesis, it recalls two women from the speakerâs young life: her mother, whose âconcern tends / Toward unyielding,â and a third-grade teacher, who exposes her to the story of Adam and Eve. âHow could the boys / Look at us the same way again?â she asks after hearing the story of Eve. A bildungsroman, it shows how the speaker came to understand herself in the world: named, and thus, dangerous; embodied, and thus, in danger; âbrightening,â âmolten.â A similar complexity exists in <a href="/i11-bashir-jai-hamid-poetry" target="_blank"><strong>Jai Hamid Bashirâs poem, âA Pornography,â</strong> </a>which conjures, as its extended metaphor, the oyster. âI know you can persuade an oyster / into creating,â she writes. â[A] false / center is created, then a pearl emerges from / a swarming of flesh.â Such is one of many âscarabs of vivid womanhoodâ in the poem â images that build into the prophetic suggestion that âthere is a protected body inside every armor,â a pearl, ripe for harvest. Pear, wasp, oyster, canary. Each of these bodies take and are taken from. Thus, the beauty of the body becomes vulnerable, violent, powerful. âMa would then hand me the paring / knife: skin this perfectly; it is part of being / beautiful.â </p><p class="" style="white-space:pre-wrap;">We are proud to present <a href="/i11-davis-vivian-poetry" target="_blank"><strong>Vivian Davisâ first published poem, âShame,â</strong> </a>which uses a tilted, off-kilter diction to express how shame is created, held, and endured in the body and consciousness. âShame, you / copper rank torch trumpet. Bald rash like swamp / soap.â Davisâ language is all askew, deliciously ghastly, off-kilter, too big, too heavy. âMy sister / calls it all bull shark,â she writes,â but Iâve watched her cram it / down her own brash bucket from tank to toad. She sham / wheels the bat scream with the best of us.â âShameâ never subjects its reader to nonsense, always just skirting the fine line. As such, this is a finely wrought poem that offers a language of the body, a language of the shamed, the shameless. Shame is also at play in<a href="/i11-mccaughey-jessica-nonfiction" target="_blank"> <strong>Jessica McCaugheyâs essay, âThe Pump,</strong>â</a>
845 a no-holds-barred look at the realities of postpartum life and the challenges she faced breastfeeding her newborn. âThe baby screams as if she is in excruciating pain at night when she wakes, hungry,â she writes, accounting her daughterâs first few weeks of life. âIt takes us three or four minutes to go heat up her bottle of refrigerated, pumped milk. I attach myself to the pump every two hours, 24-hours a day for approximately a half hour at each session.â Her painful and honest reflections bravely reveal parts of motherhood that are often shrouded in stigma and shadow, normalizing experiences that childbearing people face every day.</p> 846</div> 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872</div></div><div class="sqs-block image-block sqs-block-image" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690252617201_3877"><div class="sqs-block-content"> 873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 890 891 892 893 894 895 896 897 898 899 900 901 902 903 904 905 906 907 908 909 910 911 912 913 914 915 916 917 918 919 <div 920 class=" 921 image-block-outer-wrapper 922 layout-caption-below 923 design-layout-inline 924 combination-animation-none 925 individual-animation-none 926 individual-text-animation-none 927 " 928 data-test="image-block-inline-outer-wrapper" 929 data-sqsp-image-classic-block-layout="inline" 930 > 931 932 933 934 935 <figure 936 class=" 937 sqs-block-image-figure 938 intrinsic 939 " 940 style="max-width:2842px;" 941 > 942 943 944 945 946 947 948 949 <div 950 951 952 class="image-block-wrapper" 953 data-animation-role="image" 954 955 956 957 > 958 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 959 960 961 962 has-aspect-ratio 963 " style=" 964 position: relative; 965 966 padding-bottom:55.52427673339844%; 967 968 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 969 " 970 > 971 972 973 974 975 976 977 978 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4a3aaeb7-e9d0-4119-96d7-839e26ccb243/Screen+Shot+2023-07-24+at+8.44.58+PM.png" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4a3aaeb7-e9d0-4119-96d7-839e26ccb243/Screen+Shot+2023-07-24+at+8.44.58+PM.png" data-image-dimensions="2842x1578" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4a3aaeb7-e9d0-4119-96d7-839e26ccb243/Screen+Shot+2023-07-24+at+8.44.58+PM.png" width="2842" height="1578" alt="" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4a3aaeb7-e9d0-4119-96d7-839e26ccb243/Screen+Shot+2023-07-24+at+8.44.58+PM.png?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4a3aaeb7-e9d0-4119-96d7-839e26ccb243/Screen+Shot+2023-07-24+at+8.44.58+PM.png?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4a3aaeb7-e9d0-4119-96d7-839e26ccb243/Screen+Shot+2023-07-24+at+8.44.58+PM.png?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4a3aaeb7-e9d0-4119-96d7-839e26ccb243/Screen+Shot+2023-07-24+at+8.44.58+PM.png?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4a3aaeb7-e9d0-4119-96d7-839e26ccb243/Screen+Shot+2023-07-24+at+8.44.58+PM.png?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4a3aaeb7-e9d0-4119-96d7-839e26ccb243/Screen+Shot+2023-07-24+at+8.44.58+PM.png?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4a3aaeb7-e9d0-4119-96d7-839e26ccb243/Screen+Shot+2023-07-24+at+8.44.58+PM.png?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 979 980 </div> 981 </div> 982 983 984 985 986 987
988 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 989 <div class="image-caption"><p class="" style="white-space:pre-wrap;">Freshwater oyster with pearls. (<a href="https://www.pearlsandmore.com.au/blogs/news/freshwater-pearl-farming-and-harvesting">source</a>)</p></div> 990 </figcaption> 991 992 993 </figure> 994 995 996 </div> 997 998 999 1000 1001 1002 1003</div></div><div class="sqs-block image-block sqs-block-image" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690256735690_18087"><div class="sqs-block-content"> 1004 1005 1006 1007 1008 1009 1010 1011 1012 1013 1014 1015 1016 1017 1018 1019 1020 1021 1022 1023 1024 1025 1026 1027 1028 1029 1030 1031 1032 1033 1034 1035 1036 1037 1038 1039 1040 1041 1042 1043 1044 1045 1046 1047 1048 1049 1050 <div 1051 class=" 1052 image-block-outer-wrapper 1053 layout-caption-below 1054 design-layout-inline 1055 combination-animation-none 1056 individual-animation-none 1057 individual-text-animation-none 1058 " 1059 data-test="image-block-inline-outer-wrapper" 1060 data-sqsp-image-classic-block-layout="inline" 1061 > 1062 1063 1064 1065 1066 <figure 1067 class=" 1068 sqs-block-image-figure 1069 intrinsic 1070 " 1071 style="max-width:2000px;" 1072 > 1073 1074 1075 1076 1077 1078 1079 1080 <div 1081 1082 1083 class="image-block-wrapper" 1084 data-animation-role="image" 1085 1086 1087 1088 > 1089 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 1090 1091 1092 1093 has-aspect-ratio 1094 " style=" 1095 position: relative; 1096 1097 padding-bottom:63.45000457763672%; 1098 1099 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 1100 " 1101 > 1102 1103 1104 1105 1106 1107 1108 1109 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/d34253cd-eb56-4e52-8b12-2940b8e99ace/Getty1208182476.jpeg" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/d34253cd-eb56-4e52-8b12-2940b8e99ace/Getty1208182476.jpeg" data-image-dimensions="2000x1269" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/d34253cd-eb56-4e52-8b12-2940b8e99ace/Getty1208182476.jpeg" width="2000" height="1269" alt="" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/d34253cd-eb56-4e52-8b12-2940b8e99ace/Getty1208182476.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/d34253cd-eb56-4e52-8b12-2940b8e99ace/Getty1208182476.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/d34253cd-eb56-4e52-8b12-2940b8e99ace/Getty1208182476.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/d34253cd-eb56-4e52-8b12-2940b8e99ace/Getty1208182476.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/d34253cd-eb56-4e52-8b12-2940b8e99ace/Getty1208182476.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/d34253cd-eb56-4e52-8b12-2940b8e99ace/Getty1208182476.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/d34253cd-eb56-4e52-8b12-2940b8e99ace/Getty1208182476.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 1110 1111 </div> 1112 </div> 1113 1114 1115 1116 1117 1118 1119 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 1120 <div class="image-caption"><p class="" style="white-space:pre-wrap;">Littered beach. Photo: Mario De Moya F. (<a href="https://capitalandmain.com/inside-the-fight-to-force-makers-of-plastic-trash-to-clean-up-their-mess">source</a>)</p></div> 1121 </figcaption> 1122 1123 1124 </figure> 1125 1126 1127 </div> 1128 1129 1130 1131 1132 1133 1134</div></div><div class="sqs-block html-block sqs-block-html" data-block-type="2" data-border-radii="{"topLeft":{"unit":"px","value":0.0},"topRight":{"unit":"px","value":0.0},"bottomLeft":{"unit":"px","value":0.0},"bottomRight":{"unit":"px","value":0.0}}" data-sqsp-block="text" id="block-yui_3_17_2_1_1690488424599_12294"><div class="sqs-block-content"> 1135 1136<div class="sqs-html-content" data-sqsp-text-block-content> 1137 <p class="" style="white-space:pre-wrap;">
1137Four poems in Issue 11 profoundly engage with the landscape. <a href="/i11-beverly-burch-poetry" target="_blank"><strong>Beverly Burchâs poem, âDestroyed Sonnets,â</strong> </a>is a pair of stanzas that mirror one another ââ the first line of section one becomes the last line of section two, and so on. As the second section musses up the language of the first, retooling and re-angling it, the poem enacts a kind of destruction, a stomping on, a burning down. It is apt, considering the scene the poem evokes: a group of people trampling a beach ecosystem with no regard for the consequences of their actions: âTourists they are, crossing salt marshes to get to beach, / giants treading delicate flora, whooping laughter / like children on holiday. Whatâs a jeweled snake / [...] to party-goers?â Likewise rooted in a sense of place, <a href="/i11-archuleta-tommy-poetry" target="_blank"><strong>Tommy Archuletaâs selection of poems âfrom <em>Fieldnotes</em>,â</strong></a> demonstrates how grief fragments reality, family, landscape. Located distinctively in the western United States, these poems oscillate between lushness and barrenness. âSome nights her name / comes bounding down the canyon,â he writes, speaking of the late beloved, âits music known to root / you stories deep.â These are poems of the left-behind and the ongoing, and they speak to the profundity of speaking for, and to, and of the dead. They are a ritual of remembering that cause âthe eldest of the five hellebores / she had planted / the day before she died / [to] [liven] just a little.â</p> 1138</div> 1139 1140 1141 1142 1143 1144 1145 1146 1147 1148 1149 1150 1151 1152 1153 1154 1155 1156 1157 1158 1159 1160 1161 1162 1163 1164</div></div><div class="sqs-block image-block sqs-block-image" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690488424599_84014"><div class="sqs-block-content"> 1165 1166 1167 1168 1169 1170 1171 1172 1173 1174 1175 1176 1177 1178 1179 1180 1181 1182 1183 1184 1185 1186 1187 1188 1189 1190 1191 1192 1193 1194 1195 1196 1197 1198 1199 1200 1201 1202 1203 1204 1205 1206 1207 1208 1209 1210 1211 <div 1212 class=" 1213 image-block-outer-wrapper 1214 layout-caption-below 1215 design-layout-inline 1216 combination-animation-none 1217 individual-animation-none 1218 individual-text-animation-none 1219 " 1220 data-test="image-block-inline-outer-wrapper" 1221 data-sqsp-image-classic-block-layout="inline" 1222 > 1223 1224 1225 1226 1227 <figure 1228 class=" 1229 sqs-block-image-figure 1230 intrinsic 1231 " 1232 style="max-width:1440px;" 1233 > 1234 1235 1236 1237 1238 1239 1240 1241 <div 1242 1243 1244 class="image-block-wrapper" 1245 data-animation-role="image" 1246 1247 1248 1249 > 1250 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 1251 1252 1253 1254 has-aspect-ratio 1255 " style=" 1256 position: relative; 1257 1258 padding-bottom:66.38888549804688%; 1259 1260 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 1261 " 1262 > 1263 1264 1265 1266 1267 1268 1269 1270 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/8a6cf689-9d76-4a5a-9b38-00ad21b73bf8/img7986.jpeg" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/8a6cf689-9d76-4a5a-9b38-00ad21b73bf8/img7986.jpeg" data-image-dimensions="1440x956" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/8a6cf689-9d76-4a5a-9b38-00ad21b73bf8/img7986.jpeg" width="1440" height="956" alt="" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/8a6cf689-9d76-4a5a-9b38-00ad21b73bf8/img7986.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/8a6cf689-9d76-4a5a-9b38-00ad21b73bf8/img7986.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/8a6cf689-9d76-4a5a-9b38-00ad21b73bf8/img7986.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/8a6cf689-9d76-4a5a-9b38-00ad21b73bf8/img7986.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/8a6cf689-9d76-4a5a-9b38-00ad21b73bf8/img7986.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/8a6cf689-9d76-4a5a-9b38-00ad21b73bf8/img7986.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/8a6cf689-9d76-4a5a-9b38-00ad21b73bf8/img7986.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 1271 1272 </div> 1273 </div> 1274 1275 1276 1277 1278 1279
1280 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 1281 <div class="image-caption"><p class="" style="white-space:pre-wrap;">âView looking west across the southwestern United States, including Nevada, Arizona, and California, taken from the International Space Station, acquired on September 9, 2010.â</p></div> 1282 </figcaption> 1283 1284 1285 </figure> 1286 1287 1288 </div> 1289 1290 1291 1292 1293 1294 1295</div></div><div class="sqs-block image-block sqs-block-image sqs-col-8 span-8 float float-right" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690257497615_23148"><div class="sqs-block-content"> 1296 1297 1298 1299 1300 1301 1302 1303 1304 1305 1306 1307 1308 1309 1310 1311 1312 1313 1314 1315 1316 1317 1318 1319 1320 1321 1322 1323 1324 1325 1326 1327 1328 1329 1330 1331 1332 1333 1334 1335 1336 1337 1338 1339 1340 1341 1342 <div 1343 class=" 1344 image-block-outer-wrapper 1345 layout-caption-below 1346 design-layout-inline 1347 combination-animation-none 1348 individual-animation-none 1349 individual-text-animation-none 1350 " 1351 data-test="image-block-inline-outer-wrapper" 1352 data-sqsp-image-classic-block-layout="inline" 1353 > 1354 1355 1356 1357 1358 <figure 1359 class=" 1360 sqs-block-image-figure 1361 intrinsic 1362 " 1363 style="max-width:1018px;" 1364 > 1365 1366 1367 1368 1369 1370 1371 1372 <div 1373 1374 1375 class="image-block-wrapper" 1376 data-animation-role="image" 1377 1378 1379 1380 > 1381 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 1382 1383 1384 1385 has-aspect-ratio 1386 " style=" 1387 position: relative; 1388 1389 padding-bottom:93.61492919921875%; 1390 1391 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 1392 " 1393 > 1394 1395 1396 1397 1398 1399 1400 1401 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/c4c26c6e-ebef-464d-a749-022e5ba18151/A530-42.jpeg" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/c4c26c6e-ebef-464d-a749-022e5ba18151/A530-42.jpeg" data-image-dimensions="1018x953" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/c4c26c6e-ebef-464d-a749-022e5ba18151/A530-42.jpeg" width="1018" height="953" alt="" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/c4c26c6e-ebef-464d-a749-022e5ba18151/A530-42.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/c4c26c6e-ebef-464d-a749-022e5ba18151/A530-42.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/c4c26c6e-ebef-464d-a749-022e5ba18151/A530-42.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/c4c26c6e-ebef-464d-a749-022e5ba18151/A530-42.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/c4c26c6e-ebef-464d-a749-022e5ba18151/A530-42.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/c4c26c6e-ebef-464d-a749-022e5ba18151/A530-42.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/c4c26c6e-ebef-464d-a749-022e5ba18151/A530-42.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 1402 1403 </div> 1404 </div> 1405 1406 1407 1408 1409 1410 1411 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 1412 <div class="image-caption"><p class="" style="white-space:pre-wrap;">âWalter Vail on horseback, ca. 1898. Source: Empire Ranch Foundation archives A530-42â (<a href="https://www.empireranchfoundation.org/empire-ranch/establishment-of-the-empire-ranch-a-chronology-2/the-search-for-the-right-ranch-july-14-august-22-1876/">source</a>)</p></div> 1413 </figcaption> 1414 1415 1416 </figure> 1417 1418 1419 </div> 1420 1421 1422 1423 1424 1425 1426</div></div><div class="sqs-block html-block sqs-block-html" data-block-type="2" data-border-radii="{"topLeft":{"unit":"px","value":0.0},"topRight":{"unit":"px","value":0.0},"bottomLeft":{"unit":"px","value":0.0},"bottomRight":{"unit":"px","value":0.0}}" data-sqsp-block="text" id="block-yui_3_17_2_1_1690488424599_81111"><div class="sqs-block-content"> 1427 1428<div class="sqs-html-content" data-sqsp-text-block-content> 1429 <p class="" style="white-space:pre-wrap;">The typography of <a href="/i11-xuregui-fernando-poetry" target="_blank"><strong>fernando xáureguiâs poem âTopography of the Desertâ</strong></a> presents a spare, beautiful visual representation of its content: âtell me,â it begins, this imperative surrounded by white space, âof the desertâ â and then another long visual pause. Then, later: âof what needs littleâ â a long pause â ârain.â It is a sparse sentence; the eye slowly traces one fragment to the next as if following a thin line across a map. Such is the âslow thirstâ of the flora and fauna of the desert landscape, their âstoicism,â their strength, their survival. The environment is also at stake in <a href="/i11-russo-will-poetry" target="_blank"><strong>Will Russoâs poem, âTheorem.â</strong></a> As a theorem itself â âa general proposition not self-evident but proved by a chain of reasoningâ â the poem suggests that the reader follows its imaginative leaps as if following a logic. âSay, a man,â it begins. âThe man is a wrangler, restraining a horse by the muzzle with rope. [...] The man has made a life of conquering. What does the horse know of control? [...]&
1429nbsp; After the section break, the poem shifts, applying the same question to a much larger subject: âThe wild earth bucks whatâs living, wanting us off. In the desert, a tornado shreds a rift throughs unset-touched clouds.â The reader is left questioning, âWhat does [the world, the wild, the Earth] know of control?â</p><p class="" style="white-space:pre-wrap;"><a href="/i11-armantrout-rae-poetry" target="_blank"><strong>Rae Armantroutâs selection of new poems</strong></a> are minimal and sharp. With her signature eye for uncanniness, she observes moments of mundanity in a way that makes them seem sublime, strange, notable, poetic. In âDots,â she writes: âPoems elongate moments. / âMy pee is hot,â she said, / dreamily, mildly / surprised.â In âFamiliars,â âRenee calls her mask / âMaskieâ / and laughs / as if she were / in on / the trick / of ensoulment.â For decades, Armantroutâs poems have delighted us and challenged us to see the strange, the glimmer in the everyday, and these join that lineage. These in particular speak to the experience of the pandemic, when so many of us were hunkering down in our homes, seeing our domestic spaces in new detail. <a href="/i11-terwilliger-kelly-poetry" target="_blank"><strong>Kelly Terwilligerâs</strong> <strong>âThis other life,â</strong></a> also looks at the domestic space, observing the minutia of her pet tortoise. âThe tortoise / making his slow rounds of the house, / shuffling across the floor,â the speaker observes, âthe tortoise someone else passed on to me / when they decided to get a dog.â The scene is ordinary, but the tortoise in this moment, like animals often do, evokes in the speaker an existential awareness: âDo I know what to do? Have I done it?â Seen through the filter of this smaller but no less significant life, the speakerâs own habits and patterns seem like those of a stranger. </p><p class="" style="white-space:pre-wrap;"><a href="/i11-calhoun-nathaniel-poetry" target="_blank"><strong>Nathaniel Calhounâs strange and beautiful poem, âIditarod,â</strong></a> evokes a linguistic and cultural breakdown, the state of life âafter an epoch where everything acted / like an urchinâs spine on a hole punch.â Although the poem makes little certain, the speaker is reckoning with wholeness and partiality â of self, of landscape, place and time. He writes, âitâs not unraveling if it wasnât woven first. / tangled looks raveled if youâre troubled enough.â Here is a personal idiom, a message eked out on a secret frequency. Perhaps a message from the future, beyond the anthropocene. If life is an âIditarod of self,â one must âhold on through a dog eating solar flare.â Both of <a href="/i11-piette-hannah-poetry" target="_blank"><strong>Hannah Pietteâs poems</strong></a> in Issue 11 operate in a similar way, evoking a private diction that flushes clauses sentences against one another and mismatches tenses. In âMeasured For,â Piette writes, âgot creative in the ditch / looking for the Roman wall / but wanted to turn back, after all / it wasnât there / thereâs only one considered secondâ. The motion of the mind moves quickly, and each image is both partial and whole. The reader must experience multiple sensory inputs at once.</p><p class="" style="white-space:pre-wrap;"><a href="/i11-decarteret-mark-poetry" target="_blank"><strong>Mark DeCarteretâs poem, âThe Year I Went Without Saying the Rosary,â</strong></a> one in a series of poems from a manuscript in progress, âThe Year I/We Went Without,â considers the failure of ritual. âI must have bought a bad batch,â the speaker suspects â or confesses. âA thousand rounds in, and Iâm not sure what / sounds good anymore. Gods blur into one.â In this poem, saying the rosary, an act meant to serve as penance for the soul, is superseded by the needs of the sick body. âMaybe, if I bore down even harder, / the saints would adore me. [...] But I am too stubborn with worry to notice, be noticed.â Here, grace is transactional, something that must be constantly performed. The body that cannot perform it must go without. <a href="/i11-van-vliet-robert-poetry" target="_blank"><strong>
1429Robert van Viletâs âFour Lessonsâ</strong> </a>is the second poem in Issue 11 that engages explicitly with religiosity. âThrough the gift of the spirit / the four lights appeared,â he writes, evoking the certainty of the scriptural metaphor. But then he asks, âWhat does this mean, / âthrough the gift?ââ So begins the primary engine of the poem: deep questioning. âIt means help is always / near but not always near / enough,â the speaker answers. But his line of inquiry is just beginning. âWhat does this / mean, âof the spirit?ââ This poem wrenches apart the truisms of spirituality as well as the givens of everyday language, pushing us to think carefully about what language can, and cannot, offer us.</p> 1430</div> 1431 1432 1433 1434 1435 1436 1437 1438 1439 1440 1441 1442 1443 1444 1445 1446 1447 1448 1449 1450 1451 1452 1453 1454 1455 1456</div></div><div class="sqs-block image-block sqs-block-image" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690252617201_20548"><div class="sqs-block-content"> 1457 1458 1459 1460 1461 1462 1463 1464 1465 1466 1467 1468 1469 1470 1471 1472 1473 1474 1475 1476 1477 1478 1479 1480 1481 1482 1483 1484 1485 1486 1487 1488 1489 1490 1491 1492 1493 1494 1495 1496 1497 1498 1499 1500 1501 1502 1503 <div 1504 class=" 1505 image-block-outer-wrapper 1506 layout-caption-below 1507 design-layout-inline 1508 combination-animation-none 1509 individual-animation-none 1510 individual-text-animation-none 1511 " 1512 data-test="image-block-inline-outer-wrapper" 1513 data-sqsp-image-classic-block-layout="inline" 1514 > 1515 1516 1517 1518 1519 <figure 1520 class=" 1521 sqs-block-image-figure 1522 intrinsic 1523 " 1524 style="max-width:2560px;" 1525 > 1526 1527 1528 1529 1530 1531 1532 1533 <div 1534 1535 1536 class="image-block-wrapper" 1537 data-animation-role="image" 1538 1539 1540 1541 > 1542 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 1543 1544 1545 1546 has-aspect-ratio 1547 " style=" 1548 position: relative; 1549 1550 padding-bottom:100%; 1551 1552 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 1553 " 1554 > 1555 1556 1557 1558 1559 1560 1561 1562 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4024a96c-490e-48d8-8048-cab1e8a7758a/Lee-Li-Young-1-scaled.jpeg" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4024a96c-490e-48d8-8048-cab1e8a7758a/Lee-Li-Young-1-scaled.jpeg" data-image-dimensions="2560x2560" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4024a96c-490e-48d8-8048-cab1e8a7758a/Lee-Li-Young-1-scaled.jpeg" width="2560" height="2560" alt="" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4024a96c-490e-48d8-8048-cab1e8a7758a/Lee-Li-Young-1-scaled.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4024a96c-490e-48d8-8048-cab1e8a7758a/Lee-Li-Young-1-scaled.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4024a96c-490e-48d8-8048-cab1e8a7758a/Lee-Li-Young-1-scaled.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4024a96c-490e-48d8-8048-cab1e8a7758a/Lee-Li-Young-1-scaled.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4024a96c-490e-48d8-8048-cab1e8a7758a/Lee-Li-Young-1-scaled.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4024a96c-490e-48d8-8048-cab1e8a7758a/Lee-Li-Young-1-scaled.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/4024a96c-490e-48d8-8048-cab1e8a7758a/Lee-Li-Young-1-scaled.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 1563 1564 </div> 1565 </div> 1566 1567 1568 1569 1570 1571
1572 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 1573 <div class="image-caption"><p class="" style="white-space:pre-wrap;">Poet Li-Young Lee (<a href="https://poetshouse.org/wp-content/uploads/2020/07/Lee-Li-Young-1-scaled.jpg">source</a>)</p></div> 1574 </figcaption> 1575 1576 1577 </figure> 1578 1579 1580 </div> 1581 1582 1583 1584 1585 1586 1587</div></div><div class="sqs-block html-block sqs-block-html" data-block-type="2" data-border-radii="{"topLeft":{"unit":"px","value":0.0},"topRight":{"unit":"px","value":0.0},"bottomLeft":{"unit":"px","value":0.0},"bottomRight":{"unit":"px","value":0.0}}" data-sqsp-block="text" id="block-yui_3_17_2_1_1690488424599_40661"><div class="sqs-block-content"> 1588 1589<div class="sqs-html-content" data-sqsp-text-block-content> 1590 <p class="" style="white-space:pre-wrap;">Two poems in Issue 11 align, in some ways, with the genre of âerasure poetry,â but both featured poets reimagine the conventions of this mode in exciting ways. <a href="/i11-lam-mylo-poetry" target="_blank"><strong>Mylo Lamâs two visual poems</strong> </a>reexamine works by ThÃch Nhất Hạnh and Li-Young Lee. The primary conceit of an erasure poem â that a primary text has been stripped away or modified â often poses a question of âerasureâ at the sociocultural level â who, or what, has been erased from what narratives, what canons, and why? Likewise, with his titles, Lam announces that these poems are experiments in âselective readingâ in as much or more than they are erasures: a robotic presence, âTri Nhan 004,â âreadsâ the ThÃch Nhất Hạnh and Li-Young Lee poems, carving new poems out of them: âAnd me / Am I inside you? / Youâre always inside me / answered / the body / Am I inside you? I asked once / lying / confused / heart.â These poems are symphonies of multiple voices, valences, and technologies. <a href="/i11-newey-twila-poetry" target="_blank"><strong>Twila Neweyâs âBlue Excavations,â</strong></a> a series of visual poems composed of blue watercolor paint laid over black text, which runs and drips. There is a sense of erasure in these poems, as the printed text becomes muddled, convoluted, and hidden beneath the watercolor strokes. To read these poems as âexcavations,â however implies a reverse relationship between source text and original. It is as if Neweyâs legible text â âWhat is [illegible] / :SEA / :a[n] / object / [illegible] / // prais [illegible] her fellow [illegible]â â has been excavated, like fossilized materials, from slabs of blue rock.</p><p class="" style="white-space:pre-wrap;"><a href="/i11-mehta-diane-poetry" target="_blank"><strong>Diane Mehtaâs âReading Thom Gunnâs Lamentâ</strong></a> also draws from a previously published work. Having read Gunnâs poem 1995, âLament,â (âYour dying was a difficult enterpriseâ¦â) the speaker finds themselves overcome, âoblique and shaken.â Mehta writes: âHis loss was restless, no repose / for endings, intractable and cruel,â she writes, âand even then, it took me in.â Much like Gunn, who, addressing his late beloved, wrote, âAnd so you slept, and died, your skin gone grey, / Achieving your completeness, in a way,â Mehta observes how in the aftermath of a death, the lack, the gaping hole created by the departure, becomes a presence, a whole, a shadow self. âIsnât it true that absence is a reticulated / presence, its shade the shadow following you?â <a href="/i11-leo-timothy-poetry" target="_blank"><strong>Timothy Leoâs âDelta, Utah,â</strong></a> also emerges from grief. âWish, worry, wonder â terms / the oncologist murmured at us / in the family meeting.â Dealing with a loved oneâs cancer diagnosis, the speaker imagines an impending apocalypse, a âplague,â where âthe pink towers / fall and the birds sing c
1590at-cat-cat.â So begins a poem of admission: âI wanted Utah,â Leo writes. âTeresa of Ãvila / wanted the spear and got it.â Then, later, âI wanted Utah, I wanted him / whole.â These dreams become the dreams of the past, and the future is replaced by the present, blinding, almost too bright to look at, âfire, god, sucking-chest-wound.â </p> 1591</div> 1592 1593 1594 1595 1596 1597 1598 1599 1600 1601 1602 1603 1604 1605 1606 1607 1608 1609 1610 1611 1612 1613 1614 1615 1616 1617</div></div><div class="sqs-block image-block sqs-block-image" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690252617201_34429"><div class="sqs-block-content"> 1618 1619 1620 1621 1622 1623 1624 1625 1626 1627 1628 1629 1630 1631 1632 1633 1634 1635 1636 1637 1638 1639 1640 1641 1642 1643 1644 1645 1646 1647 1648 1649 1650 1651 1652 1653 1654 1655 1656 1657 1658 1659 1660 1661 1662 1663 1664 <div 1665 class=" 1666 image-block-outer-wrapper 1667 layout-caption-below 1668 design-layout-inline 1669 combination-animation-none 1670 individual-animation-none 1671 individual-text-animation-none 1672 " 1673 data-test="image-block-inline-outer-wrapper" 1674 data-sqsp-image-classic-block-layout="inline" 1675 > 1676 1677 1678 1679 1680 <figure 1681 class=" 1682 sqs-block-image-figure 1683 intrinsic 1684 " 1685 style="max-width:1940px;" 1686 > 1687 1688 1689 1690 1691 1692 1693 1694 <div 1695 1696 1697 class="image-block-wrapper" 1698 data-animation-role="image" 1699 1700 1701 1702 > 1703 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 1704 1705 1706 1707 has-aspect-ratio 1708 " style=" 1709 position: relative; 1710 1711 padding-bottom:66.64948272705078%; 1712 1713 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 1714 " 1715 > 1716 1717 1718 1719 1720 1721 1722 1723 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/397c9e04-cb6e-4590-b8ae-979481201b18/f36b928c663d7d8a51286b0c37f846ba.jpeg" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/397c9e04-cb6e-4590-b8ae-979481201b18/f36b928c663d7d8a51286b0c37f846ba.jpeg" data-image-dimensions="1940x1293" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/397c9e04-cb6e-4590-b8ae-979481201b18/f36b928c663d7d8a51286b0c37f846ba.jpeg" width="1940" height="1293" alt="" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/397c9e04-cb6e-4590-b8ae-979481201b18/f36b928c663d7d8a51286b0c37f846ba.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/397c9e04-cb6e-4590-b8ae-979481201b18/f36b928c663d7d8a51286b0c37f846ba.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/397c9e04-cb6e-4590-b8ae-979481201b18/f36b928c663d7d8a51286b0c37f846ba.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/397c9e04-cb6e-4590-b8ae-979481201b18/f36b928c663d7d8a51286b0c37f846ba.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/397c9e04-cb6e-4590-b8ae-979481201b18/f36b928c663d7d8a51286b0c37f846ba.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/397c9e04-cb6e-4590-b8ae-979481201b18/f36b928c663d7d8a51286b0c37f846ba.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/397c9e04-cb6e-4590-b8ae-979481201b18/f36b928c663d7d8a51286b0c37f846ba.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 1724 1725 </div> 1726 </div> 1727 1728 1729 1730 1731 1732
1733 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 1734 <div class="image-caption"><p class="" style="white-space:pre-wrap;">âEnglish poet Thom Gunn (1929 â 2004) attends an event, UK, 25th June 1970. Photo by Evening Standard/Hulton Archive/Getty images.â (<a href="https://www.poetryfoundation.org/poets/thom-gunn">source</a>)</p></div> 1735 </figcaption> 1736 1737 1738 </figure> 1739 1740 1741 </div> 1742 1743 1744 1745 1746 1747 1748</div></div><div class="sqs-block image-block sqs-block-image" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690252617201_26841"><div class="sqs-block-content"> 1749 1750 1751 1752 1753 1754 1755 1756 1757 1758 1759 1760 1761 1762 1763 1764 1765 1766 1767 1768 1769 1770 1771 1772 1773 1774 1775 1776 1777 1778 1779 1780 1781 1782 1783 1784 1785 1786 1787 1788 1789 1790 1791 1792 1793 1794 1795 <div 1796 class=" 1797 image-block-outer-wrapper 1798 layout-caption-below 1799 design-layout-inline 1800 combination-animation-none 1801 individual-animation-none 1802 individual-text-animation-none 1803 " 1804 data-test="image-block-inline-outer-wrapper" 1805 data-sqsp-image-classic-block-layout="inline" 1806 > 1807 1808 1809 1810 1811 <figure 1812 class=" 1813 sqs-block-image-figure 1814 intrinsic 1815 " 1816 style="max-width:1678px;" 1817 > 1818 1819 1820 1821 1822 1823 1824 1825 <div 1826 1827 1828 class="image-block-wrapper" 1829 data-animation-role="image" 1830 1831 1832 1833 > 1834 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 1835 1836 1837 1838 has-aspect-ratio 1839 " style=" 1840 position: relative; 1841 1842 padding-bottom:66.68653106689453%; 1843 1844 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 1845 " 1846 > 1847 1848 1849 1850 1851 1852 1853 1854 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/df32fb42-e6e4-4077-a799-5026ec593529/death-of-st-teresa-giovanni-segala-da-murano-church-of-san-pietro-in-oliveto-brescia.jpeg" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/df32fb42-e6e4-4077-a799-5026ec593529/death-of-st-teresa-giovanni-segala-da-murano-church-of-san-pietro-in-oliveto-brescia.jpeg" data-image-dimensions="1678x1119" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/df32fb42-e6e4-4077-a799-5026ec593529/death-of-st-teresa-giovanni-segala-da-murano-church-of-san-pietro-in-oliveto-brescia.jpeg" width="1678" height="1119" alt="" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/df32fb42-e6e4-4077-a799-5026ec593529/death-of-st-teresa-giovanni-segala-da-murano-church-of-san-pietro-in-oliveto-brescia.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/df32fb42-e6e4-4077-a799-5026ec593529/death-of-st-teresa-giovanni-segala-da-murano-church-of-san-pietro-in-oliveto-brescia.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/df32fb42-e6e4-4077-a799-5026ec593529/death-of-st-teresa-giovanni-segala-da-murano-church-of-san-pietro-in-oliveto-brescia.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/df32fb42-e6e4-4077-a799-5026ec593529/death-of-st-teresa-giovanni-segala-da-murano-church-of-san-pietro-in-oliveto-brescia.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/df32fb42-e6e4-4077-a799-5026ec593529/death-of-st-teresa-giovanni-segala-da-murano-church-of-san-pietro-in-oliveto-brescia.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/df32fb42-e6e4-4077-a799-5026ec593529/death-of-st-teresa-giovanni-segala-da-murano-church-of-san-pietro-in-oliveto-brescia.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/df32fb42-e6e4-4077-a799-5026ec593529/death-of-st-teresa-giovanni-segala-da-murano-church-of-san-pietro-in-oliveto-brescia.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 1855 1856 </div> 1857 </div> 1858 1859 1860 1861 1862 1863
1864 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 1865 <div class="image-caption"><p class="" style="white-space:pre-wrap;">âThe death of St. Teresa of Avila,â Giovanni Segala (Italian, 1663â1720). Oil on canvas, 1696. Church of San Pietro in Oliveto, Brescia.</p></div> 1866 </figcaption> 1867 1868 1869 </figure> 1870 1871 1872 </div> 1873 1874 1875 1876 1877 1878 1879</div></div><div class="sqs-block html-block sqs-block-html" data-block-type="2" data-border-radii="{"topLeft":{"unit":"px","value":0.0},"topRight":{"unit":"px","value":0.0},"bottomLeft":{"unit":"px","value":0.0},"bottomRight":{"unit":"px","value":0.0}}" data-sqsp-block="text" id="block-yui_3_17_2_1_1690488424599_35301"><div class="sqs-block-content"> 1880 1881<div class="sqs-html-content" data-sqsp-text-block-content> 1882 <p class="" style="white-space:pre-wrap;">Another grief poem, <a href="/i11-rader-dean-poetry" target="_blank"><strong>Dean Raderâs âPoem Begun on the Day of My Fatherâs Death and Completed on the Day I Dreamed of My Own,â</strong></a> begins in the ânow-hushed,â an âoverture of emptiness.â Like in Greenâs poem, âLisbon,â the speakerâs sense of life and death collapses into the memory of the departed. âhow long have I waited to think a thought that was not / its shadow?â Rader asks, as if questioning the singularity of consciousness. (Recall, Mehta, above: âIsnât it true that absence is a reticulated / presence, its shade the shadow following you?â) Then, the poem lands in the metaphysical â one remedy for the grieving body and soul: âlet us conceive this life / as a corridor â [...] let us be the medium, the decussationâ. <a href="/i11-schmalz-fred" target="_blank"><strong>Fred Schmalzâs âMan with Hat in Windâ</strong></a> is a truncated biography â a life reduced to a few bits of language. In the first stanza, the man performs a daily routine, âa rhythm to guard against forgetting.â He dresses, â[tucks] a phone into his pocket. [...] check stove check coffee maker grab keys.â We begin in the mundane. Stanza two zoom out, recalling how, years ago, the man was âcalled to the morgue to identify his colleagues.â This, then, becomes a poem about grief, about how life goes on after tragedy. Tragedy is, artfully, made mundane. âHe was not saddened by the deaths we all endure,â Schmalz writes. âHe had, even by the time the others drew their last breaths, sewn the loss into the fabric of his own life.â The poem ends with acceptance, release.</p><p class="" style="white-space:pre-wrap;">In <a href="/i11-shumaker-paul-video" target="_blank"><strong>Paul Shumakerâs video, âClay Bowl,â</strong> </a>the viewer is confronted with what appears to be a single still image. But Shumaker writes, âa clear image didn't interest me.â Shot on a camera that would help him emphasize âthe surface of the screen,â the video is meant to call attention to the artifice of the genre â as well as the viewerâs instability. âNothing, seemingly, moves during the video,â Shumaker writes. When put on film, the âstillnessâ of this âstill lifeâ is called into question: âwhatâs revealed are pulsations that originate from the camera.â It reminds me of Marina AbramoviÄâs video âCarrying the Milk,â which likewise demonstrates an unreliable stillness. Weâre lucky to have a second piece of visual art in Issue 11, <a href="/i11-weber-ann-art" target="_blank"><strong>Ann Weberâs sculpture, âMarie Antionette,â</strong> </a>which is also the Issue 11 cover. Over nine-feet tall and made entirely of âfound cardboard and staples,â the piece strikes a silhouette that is both feminine and jurassic. The material components of the sculpture are jagged and sharp â cardboard edges, corners, and right angles flush against one another. But the shape they compose is distinctively soft. We can see a representation of Marie Antionette, as the sculpture wears something of an eighteenth-century costume from its âwaistâ down, but the piece is also so distinctively non-human that the viewer must project their own interpretations and connotations onto it. Per Weberâs artist statement, âHer interest is in expanding the possibilities of making beauty from a common and mundane material.â By creating new forms from refuse, Weber reminds her viewers that meaning must always be constructed. </p> 1883</div> 1884 1885 1886 1887 1888 1889 1890 1891 1892 1893 1894 1895 1896 1897 1898 1899 1900 1901 1902 1903 1904 1905 1906 1907 1908 1909</div></div><div class="sqs-block image-block sqs-block-image" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690562543360_27348"><div class="sqs-block-content"> 1910 1911 1912 1913 1914 1915 1916 1917 1918 1919 1920 1921 1922 1923 1924 1925 1926 1927 1928 1929 1930 1931 1932 1933 1934 1935 1936 1937 1938 1939 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 <div 1957 class=" 1958 image-block-outer-wrapper 1959 layout-caption-below 1960 design-layout-inline 1961 combination-animation-none 1962 individual-animation-none 1963 individual-text-animation-none 1964 " 1965 data-test="image-block-inline-outer-wrapper" 1966 data-sqsp-image-classic-block-layout="inline" 1967 > 1968 1969 1970 1971 1972 <figure 1973 class=" 1974 sqs-block-image-figure 1975 intrinsic 1976 " 1977 style="max-width:3000px;" 1978 > 1979 1980 1981 1982 1983 1984 1985 1986 <div 1987 1988 1989 class="image-block-wrapper" 1990 data-animation-role="image" 1991 1992 1993 1994 > 1995 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 1996 1997 1998 1999 has-aspect-ratio 2000 " style=" 2001 position: relative; 2002 2003 padding-bottom:100%; 2004 2005 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 2006 " 2007 > 2008 2009 2010 2011 2012 2013 2014 2015 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/f5f2f6ab-2439-4148-a0e1-dd2987f345c6/83680.jpeg" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/f5f2f6ab-2439-4148-a0e1-dd2987f345c6/83680.jpeg" data-image-dimensions="3000x3000" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/f5f2f6ab-2439-4148-a0e1-dd2987f345c6/83680.jpeg" width="3000" height="3000" alt="" sizes="(max-width: 640px) 100v
2015w, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/f5f2f6ab-2439-4148-a0e1-dd2987f345c6/83680.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/f5f2f6ab-2439-4148-a0e1-dd2987f345c6/83680.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/f5f2f6ab-2439-4148-a0e1-dd2987f345c6/83680.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/f5f2f6ab-2439-4148-a0e1-dd2987f345c6/83680.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/f5f2f6ab-2439-4148-a0e1-dd2987f345c6/83680.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/f5f2f6ab-2439-4148-a0e1-dd2987f345c6/83680.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/f5f2f6ab-2439-4148-a0e1-dd2987f345c6/83680.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 2016 2017 </div> 2018 </div> 2019 2020 2021 2022 2023 2024 2025 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 2026 <div class="image-caption"><p class="" style="white-space:pre-wrap;">Still from âCarrying the Milk,â 2009, Marina Abramovic, Color video with sound, Duration: 12 min. 42 s. loop. (<a href="https://fondationlouisvuitton.fr/en/collection/artworks/the-kitchen-v-carrying-the-milk">source</a>)</p></div> 2027 </figcaption> 2028 2029 2030 </figure> 2031 2032 2033 </div> 2034 2035 2036 2037 2038 2039 2040</div></div><div class="sqs-block image-block sqs-block-image" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690488424599_37488"><div class="sqs-block-content"> 2041 2042 2043 2044 2045 2046 2047 2048 2049 2050 2051 2052 2053 2054 2055 2056 2057 2058 2059 2060 2061 2062 2063 2064 2065 2066 2067 2068 2069 2070 2071 2072 2073 2074 2075 2076 2077 2078 2079 2080 2081 2082 2083 2084 2085 2086 2087 <div 2088 class=" 2089 image-block-outer-wrapper 2090 layout-caption-below 2091 design-layout-inline 2092 combination-animation-none 2093 individual-animation-none 2094 individual-text-animation-none 2095 " 2096 data-test="image-block-inline-outer-wrapper" 2097 data-sqsp-image-classic-block-layout="inline" 2098 > 2099 2100 2101 2102 2103 <figure 2104 class=" 2105 sqs-block-image-figure 2106 intrinsic 2107 " 2108 style="max-width:2432px;" 2109 > 2110 2111 2112 2113 2114 2115 2116 2117 <div 2118 2119 2120 class="image-block-wrapper" 2121 data-animation-role="image" 2122 2123 2124 2125 > 2126 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 2127 2128 2129 2130 has-aspect-ratio 2131 " style=" 2132 position: relative; 2133 2134 padding-bottom:65.04934692382812%; 2135 2136 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 2137 " 2138 > 2139 2140 2141 2142 2143 2144 2145 2146 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/797ceda6-c01d-41f5-a31f-706efb5174f2/Screen+Shot+2023-07-27+at+2.14.39+PM.png" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/797ceda6-c01d-41f5-a31f-706efb5174f2/Screen+Shot+2023-07-27+at+2.14.39+PM.png" data-image-dimensions="2432x1582" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/797ceda6-c01d-41f5-a31f-706efb5174f2/Screen+Shot+2023-07-27+at+2.14.39+PM.png" width="2432" height="1582" alt="" sizes="(max-width: 640px) 100v
2146w, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/797ceda6-c01d-41f5-a31f-706efb5174f2/Screen+Shot+2023-07-27+at+2.14.39+PM.png?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/797ceda6-c01d-41f5-a31f-706efb5174f2/Screen+Shot+2023-07-27+at+2.14.39+PM.png?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/797ceda6-c01d-41f5-a31f-706efb5174f2/Screen+Shot+2023-07-27+at+2.14.39+PM.png?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/797ceda6-c01d-41f5-a31f-706efb5174f2/Screen+Shot+2023-07-27+at+2.14.39+PM.png?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/797ceda6-c01d-41f5-a31f-706efb5174f2/Screen+Shot+2023-07-27+at+2.14.39+PM.png?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/797ceda6-c01d-41f5-a31f-706efb5174f2/Screen+Shot+2023-07-27+at+2.14.39+PM.png?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/797ceda6-c01d-41f5-a31f-706efb5174f2/Screen+Shot+2023-07-27+at+2.14.39+PM.png?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 2147 2148 </div> 2149 </div> 2150 2151 2152 2153 2154 2155 2156 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 2157 <div class="image-caption"><p class="" style="white-space:pre-wrap;">Trompe l'oeil fish in pressed glass, c. 1870. Pressed glass, paint, wood, velvet. Unknown American artist (<a href="https://collections.artsmia.org/art/9417/trompe-loeil-fish-in-pressed-glass-unknown-american">source</a>)</p></div> 2158 </figcaption> 2159 2160 2161 </figure> 2162 2163 2164 </div> 2165 2166 2167 2168 2169 2170 2171</div></div><div class="sqs-block html-block sqs-block-html" data-block-type="2" data-border-radii="{"topLeft":{"unit":"px","value":0.0},"topRight":{"unit":"px","value":0.0},"bottomLeft":{"unit":"px","value":0.0},"bottomRight":{"unit":"px","value":0.0}}" data-sqsp-block="text" id="block-yui_3_17_2_1_1690488424599_37838"><div class="sqs-block-content"> 2172 2173<div class="sqs-html-content" data-sqsp-text-block-content> 2174 <p class="" style="white-space:pre-wrap;"><a href="/i11-tuckner-matthew-poetry" target="_blank"><strong>Matthew Tucknerâs âTrompe L'oeilâ</strong> </a>enters a conversation about the transmutation of word into image. âItâs a fish because I tell you it's a fish,â he begins. (I recall, of course, the most memorable line in Faulkner, âMy mother is a fish.â) âA fish thatâs more like a car than a word,â Tuckner writes, âfor how quickly it drives the mind to the places / it already knows it knows.â This transmutation, of word, into vehicle, into mind, into image, into recognition, becomes the âtrompe l'oeilâ of the poem, and as such, it becomes a statement on semiotics itself. Tucker extends the movement of the âwordâ into the body, (in a sense, making it âflesh) ending the poem with a personal transfiguration: âSo many cherry blossoms in my veins, I must be a cherry.â This poem pairs nicely with <a href="/i11-gore-sylee-poetry" target="_blank"><strong>Sylee Goreâs deceptively simple poem,âWhy paint?â</strong></a> which answers that question, first, with irony. âI do it for the money.â Then: âEverything is found. / Painting is the glove you wear to touch a wound.â Its final gesture, which intervenes against the surety of the poem so far, is a concluding statement akin to âYou must change your lifeâ (Rilke) or âI have wasted my lifeâ (Wright). âWhy paint?â ends with: âI donât know what I want.â This seems to be the most authentic answer to the poemâs titular question. One makes art because it is a means of seeking, of desire. <a href="/i11-keith-sally-poetry" target="_blank"><strong>Sally Keithâs poem, âObedience,</strong>â</a> also looks closely at the art-making impulse. âI found a little poem called âObedience,â it begins, âincluding a ferocious current and the pointlessness / of working against it. [â¦] I understood / the words but for whatever reason could not bring myself / to translate it.â What follows is a wading through and against this current â river, rain, tears â and a reckoning with what they, as concepts, as signifiers, do and no not convey. Obedience to the self emerges. Oneâs intuition. Obedience to the original, the context of translation. Obedience to desire, the desire to tell, and the poem obeys.</p> 2175</div> 2176 2177 2178 2179 2180 2181 2182 2183 2184 2185 2186 2187 2188 2189 2190 2191 2192 2193 2194 2195 2196 2197 2198 2199 2200 2201</div></div><div class="sqs-block image-block sqs-block-image" data-block-type="5" data-sqsp-block="image-classic" id="block-yui_3_17_2_1_1690252617201_41548"><div class="sqs-block-content"> 2202 2203 2204 2205 2206 2207 2208 2209 2210 2211 2212 2213 2214 2215 2216 2217 2218 2219 2220 2221 2222 2223 2224 2225 2226 2227 2228 2229 2230 2231 2232 2233 2234 2235 2236 2237 2238 2239 2240 2241 2242 2243 2244 2245 2246 2247 2248 <div 2249 class=" 2250 image-block-outer-wrapper 2251 layout-caption-below 2252 design-layout-inline 2253 combination-animation-none 2254 individual-animation-none 2255 individual-text-animation-none 2256 " 2257 data-test="image-block-inline-outer-wrapper" 2258 data-sqsp-image-classic-block-layout="inline" 2259 > 2260 2261 2262 2263 2264 <figure 2265 class=" 2266 sqs-block-image-figure 2267 intrinsic 2268 " 2269 style="max-width:2500px;" 2270 > 2271 2272 2273 2274 2275 2276 2277 2278 <div 2279 2280 2281 class="image-block-wrapper" 2282 data-animation-role="image" 2283 2284 2285 2286 > 2287 <div data-sqsp-image-classic-block-image-container class="sqs-image-shape-container-element 2288 2289 2290 2291 has-aspect-ratio 2292 " style=" 2293 position: relative; 2294 2295 padding-bottom:56.23999786376953%; 2296 2297 overflow: hidden;-webkit-mask-image: -webkit-radial-gradient(white, black); 2298 " 2299 > 2300 2301 2302 2303 2304 2305 2306 2307 <img data-stretch="false" data-src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/165899d1-b539-4083-8b9a-f6df0152eb26/Montaggio%2B2.1%2B%28CC%29.00_00_32_02.Immagine002.jpg" data-image="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/165899d1-b539-4083-8b9a-f6df0152eb26/Montaggio%2B2.1%2B%28CC%29.00_00_32_02.Immagine002.jpg" data-image-dimensions="2500x1406" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/165899d1-b539-4083-8b9a-f6df0152eb26/Montaggio%2B2.1%2B%28CC%29.00_00_32_02.Immagine002.jpg" width="2500" height="1406" alt="" sizes="(max-width: 640px) 100v
2307w, (max-width: 767px) 100vw, 100vw" style="display:block;object-fit: cover; width: 100%; height: 100%; object-position: 50% 50%" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/165899d1-b539-4083-8b9a-f6df0152eb26/Montaggio%2B2.1%2B%28CC%29.00_00_32_02.Immagine002.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/165899d1-b539-4083-8b9a-f6df0152eb26/Montaggio%2B2.1%2B%28CC%29.00_00_32_02.Immagine002.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/165899d1-b539-4083-8b9a-f6df0152eb26/Montaggio%2B2.1%2B%28CC%29.00_00_32_02.Immagine002.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/165899d1-b539-4083-8b9a-f6df0152eb26/Montaggio%2B2.1%2B%28CC%29.00_00_32_02.Immagine002.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/165899d1-b539-4083-8b9a-f6df0152eb26/Montaggio%2B2.1%2B%28CC%29.00_00_32_02.Immagine002.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/165899d1-b539-4083-8b9a-f6df0152eb26/Montaggio%2B2.1%2B%28CC%29.00_00_32_02.Immagine002.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/58f2cef6197aea531721149e/165899d1-b539-4083-8b9a-f6df0152eb26/Montaggio%2B2.1%2B%28CC%29.00_00_32_02.Immagine002.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs"> 2308 2309 </div> 2310 </div> 2311 2312 2313 2314 2315 2316 2317 <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper"> 2318 <div class="image-caption"><p class="" style="white-space:pre-wrap;">Mime among pedestrians (<a href="https://www.npsmultimedia.com">source</a>)</p></div> 2319 </figcaption> 2320 2321 2322 </figure> 2323 2324 2325 </div> 2326 2327 2328 2329 2330 2331 2332</div></div><div class="sqs-block html-block sqs-block-html" data-block-type="2" data-border-radii="{"topLeft":{"unit":"px","value":0.0},"topRight":{"unit":"px","value":0.0},"bottomLeft":{"unit":"px","value":0.0},"bottomRight":{"unit":"px","value":0.0}}" data-sqsp-block="text" id="block-yui_3_17_2_1_1690488424599_15736"><div class="sqs-block-content"> 2333 2334<div class="sqs-html-content" data-sqsp-text-block-content> 2335 <p class="" style="white-space:pre-wrap;">Two poems Issue 11 recall encounters with strangers. To first read<a href="/i11-tyrrel-liane-poetry" target="_blank"> <strong>Liane Tyrrelâs âMoving the Bodiesâ</strong></a> is to wonder at the literal circumstances of its opening gambit: âI was asked to move the bodies â there were just two. Left alone in small beds.â It is a blunt, unaffected statement, and at first, I expect this poem to be about carrying sleeping children out of their beds. But soon, the poem demonstrates its literalness: âI could go crazy from this work,â Tyrellâs speaker says, âmoving lonely men, already dead. Sitting up in bed waiting / for nothing.â It is a poem about the work of death, of cleaning up after the dead, âvisible if anyone had bothered, in passing, / to glance inside their window.â What I love most about it is that it is deeply unsentimental. We readers must also look directly into the faces and bodies of death. <a href="/i11-sweeney-jennifer-k-poetry" target="_blank"><strong>Jennifer K. Sweeneyâs âOnce I hid behind a tree and watched a mimeâ</strong></a> recalls the speakerâs encounter with a street performer in Prague, âhow awkward and direct / it was to approach him, like approaching the god of my childhood at the end of a corridor.â The mime becomes a kind of mirror for the speakerâs consciousness as she passes him each day, âa homing ritual,â she calls it, âor a meditation or a foothold against the crisis / I brought with me.â The crisis remains unspoken in the poem, but it is through this unspeaking human character, âopen[ing] tiny doors / in the wind,â that she comes to see herself and others more clearly, acting and reacting, making gestures.</p><p class="" style="white-space:pre-wrap;">Thank you for reading Issue 11 of <em>Guesthouse</em>. Weâre all so glad youâre here.</p><p class="" style="white-space:pre-wrap;">Jane Huffman</p><p class="" style="white-space:pre-wrap;">Editor-in-chief</p> 2336</div> 2337 2338 2339 2340 2341 2342 2343 2344 2345 2346 2347 2348 2349 2350 2351 2352 2353 2354 2355 2356 2357 2358 2359 2360 2361 2362</div></div></div></div></div> 2363 </div> 2364 2365 2366 2367 </section> 2368 </div> 2369 2370 </div> 2371 </div> 2372
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