After a small handful of Dusie chapbook posts (click on the Dusie link at the bottom of this post), I think I'm slowly running to the end. How long, I wonder, before the next run begins...?
Wallisellen, Switzerland: From Dusie founder, editor and publisher Susana Gardner comes the small chapbook from IDYLLS & RUSHES (2011), a collection of short koan-like individual stanza-fragments. What are her fragments working their accumulative way towards?
Freedom others bitter tonicsubtle certainties proof reflectionidiosyncratic looking-glass womanamong nuances classrhythmical language, thought.
Moving through this small fragment of (apparently) a longer work-in-progress, as well as her trade collection, HERSO, An Heirship in Waves (Black Radish Books, 2011), Gardner seems to work her poems in longer swaths, writing sequences out as accumulations, waves. Given the amount she has published so far, I'd be interested in seeing some kind of poetics statement on what she's been working on, some kind of essay on how her poems move, and some potential, future targets. I would like to hear her take on some of this, perhaps.
Tétè-à-têtes platform our ironicalcaresses-love, perhaps throughtea-stained swathing. Oh, irritablerushes—come now, come.
France: Jennifer K. Dick's Tracery (2011) is a small study in textures, from the wallpaper collage that helps hold the cover to the twists of the texts, even citing images from Historic New England, “History of Wallpaper 1845-70: Changing Technology & Increasing Production,” writing: “In the couplets of shadows she could emerge // From the layers of ink printed or be stencilled.” Produced in a numbered edition of two hundred copies, every page is a strip shorn from another disperate pattern, collaged into something parcelled, and traced into this small unit. Does it matter where such a poem might begin, might end?
Where is here, besides? What is she? What is what is where and when does she come to, to gather, a farthing, a farther thing, into being? When is she beginning whereto or for, flax and flummoxed? Lost to grab the back of horsehair spirals, dyed plinth and borderlands, hinter- . To hinder her passage, she shielded or shedding. This wall willing. This was a willing wall, a wishing well, or, to speak of, in that other language, or, as in ornate. Captivate, will she? Or winter the wanderlust wanton wanting? Spelled. She is a die cast, a cast of. Or, ornate, Ariadna-esque lines drowning her back. Trace on her wrist of the Ille. Cup to read her palm, the deep rivulets, moats, canals, then trace the Rhine backwards, upstream, source to be sourcing. Haute, higher still, to speak in tongues, triturate.