Poets: how do we wish to play with the medium of film? Filmmakers: how do we wish to strum the currents of poetry? Is one the water and the other the ripple that proves it not glass? Is one the world and the other the bowl in which it is caught, like a sky in a lake so we see it twice?
Ernest Hemingway once wrote in a letter to a friend, “writing and travel broaden your ass if not your mind and I like to write standing up.” Writing is closely connected with movement. In fact, it is its own sense of movement. Words move across the page, taking us from point A to point B, …
The language births a new meaning and a brand new poem is brought into the world. This is what makes erasure poetry so great; it finds new meaning in the original source text rather than completely steer away from it entirely.
When I write code, it gives the other side of my brain a rest. I enjoy the problem solving that writing code presents and when I write a poem, I usually don’t try to problem-solve the poem.
How can we use language, both a barrier and a bridge, to do more than just speak about the natural world? Is there a way we can sing back to the birds, rush with the river and shudder for the wind?
“Distance running itself creates a hinge between physical exhaustion and the elevated mental capacity that exertion enables. It’s a lot like the effect of psychedelic drugs on perception. The mind attains a higher sense of awareness through specific, controlled altercations to the physical body…”
“Persona poems allow for the poet to no longer be bound in her own body.” Join Carly Joy Miller as she explores the persona poem and Patricia Smith’s poem, “34,” from Blood Dazzler.