Each parcel is as hard and unstable as the gravel under our feet. Fold grown feldspar in spathe fields sprat pleats failing to pare. by, How to Crash Cannes Craig Dworkin is the author of Dure (Cuneiform Press, 2004), Strand (Roof Books, 2005), and Parse (Atelos, 2008), among others. Alkali Residues of blanket wash (roughly equal parts aliphatic hydrocarbon and aromatic hydrocarbon): ] from softwood sulphite pulp (Pozone Process) of White Spruce. Translated into geological terms, salts fall out of aqueous solution due to evaporation to form minerals according to geochemical conditions. Craig Dworkin is the author of five books of poetry and several chapbooks, including Dure (Cuneiform, 2004), Strand (Roof, 2005), Parse (Atelos, 2008), The Perverse Library (Information As Material, 2010), Motes (Roof, 2011), and Chapter XXIV (Red Butte Press, 2013). The poems are minimal but fully reentrant, that is, going at them again and again does not repeat. Even though many of his conceptual works have echoed minimalist ideals, Motes shifts into a more distilled frame, where both author and reader slide over a tiny handful of words only to arrive at other ends of the world: "BRICK / Buick." Craig Dworkin One in which the substitutions at the heart of metaphor and image were replaced by the direct presentation of language itself, with ‘spontaneous overflow’ supplanted by meticulous procedure and exhaustively logical process?”. Hens ISBN: 978-1-931824-29-3 Later in the poem, chemical solution becomes an analogy, Salt: Water :: Love: Time: Love acts as a kind of amnesiant, making us forget that emotion, /including its own, is completely soluble, however slowly, in time. The “=” achieves what Choi approaches in her pamphlet: translation as a twinning language. There are essays on playwright Fiona Templeton and a groundbreaking piece by Sianne Ngai centered on Gertrude Stein. Featuring interviews with Clifford Owens, Eve Sussman, Lisa Yuskavage, Sanford Biggers, Geoff Dyer, Kenneth Goldsmith, Neil Michael Hagerty, and Peter Eisenman. — Lina Srivastava, in video for Writers Against Trump[i]. While Coolidge wrote, “What I discover in writing comes out of the mess, the mix,” Dworkin’s remix includes a line credited to the French poet Fancis Ponge: A rose encodes. If the book turns telegram hefty classics of philosophy and literature (some merely suggestive of their hautes sources), its verbal quarks quirkily sidestep essence for sidelong banter and bathos (viz. BOMB’s founders—New York City artists and writers—decided to publish dialogues that reflected the way practitioners spoke about their work among themselves. In “Haligraphy,” these evaporites form patterns on the landscape as if salt itself were writing in a kind of nonsentient language. In other words, when you remove human sentiment from language you might get science. Craig Dworkin, Professor in the English Department at the University of Utah, is the author of Reading the Illegible and the editor of Language to Cover a Page: The Early Writings of Vito Acconci (MIT Press). ISBN: 978-1-931824-44-6 Dworkin has edited a collection of amazing new essays on poetics, summarizing the variety of poetries that have arisen in innovative writing during the past 10 years. Craig Dworkin is the author of Strand (Roof Books, 2005), Parse (Atelos, 2008), The Perverse Library (Information As Material, 2010), and Motes (Roof Books, 2011). A poetry of intellect rather than emotion? The title of Don Mee Choi’s new pamphlet, Translation is a Mode=Translation is an Anti-neocolonial mode, contains a “=” mark, a symbol that is not written language and yet conveys a recognizable meaning. Many of our editors are working remotely, and we will continue to curate Jacket2 as a space to convene and sustain a life in/through poetry during times of scarcity, stress, and shifting imagined communities. Kenneth Goldsmith, who is the most famous of the conceptual poets, has said, “Conceptual writing is good only when the idea is good.” The idea of poetry as mineralogy seems good to me, but then again, you don’t have to sell me on rocks. Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. Sign up for a print + digital subscription now and save 40% off the cover price. March 2015 Plan-B’s Kingdom of Heaven: A Mormon Roadshow with an LGBT Message, Visual Splendor: Nina Tichava at Gallery MAR. Blair Sagan residency coming up at Counterpath Sept. 25 to Oct. 9! Come on out this Friday for Blair Sagan event, Mutual Paid! He teaches at the University of Utah. It’s fair to ask, is Dworkin’s poetry any good? Craig Dworkin is the author of Dure (Cuneiform Press, 2004), Strand (Roof Books, 2005), and Parse (Atelos, 2008), among others. Craig Dworkin's "Motes" imitates a form created by Bob Grenier in A Day at the Beach and Sentences. Filling the gap that has arisen in publishing writing on new poetry, there are essays on computer programs as poems by Brian Kim Stefans, flarf poetics by Gary Sullivan and Michael Gottlieb, uncreative poetry by Kenneth Goldsmith, and environmental poetry by James Sherry. As Grenier says in the "Afterword" - "What’s wrong with our Community of Poets, such that each next 'new one' has to be so studiously/stylistically ('New'), Idiosyncratic…?" Craig Dworkin is the author of five books of poetry and several chapbooks, including Dure (Cuneiform, 2004), Strand (Roof, 2005), Parse (Atelos, 2008), The Perverse Library (Information As Material, 2010), Motes (Roof, 2011), and Chapter XXIV (Red Butte Press, 2013). We remain committed to bringing you open access content when institutional access and travel for research become compromised and complicated. Or his oblique review of the Iraq War Conceptual poetry is the opposite of what most people think of when they think of poetry. Craig Dworkin (left) and James LaMarre (right). A tongue-twister, and as the words and phrases recur the whole poem takes on a formal quality like a nonsense villanelle. It’s a post-Internet idea that has been termed “uncreative writing,” and in his introduction to the online UBUWEB :: Anthology of Conceptual Writing, Dworkin asks, “What would a nonexpressive poetry look like?
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