The following is an interview I did with Brittany Billmeyer-Finn, an Oakland-based poet whose recent book of poetry the meshes (Black Radish, 2016) features a complex polyvocal/temporal interpretation/dialogue of and against Maya Deren‘s filmography.
Geraldine Kim: When I was reading the meshes, I noticed multiple layers of gazing or “looking” throughout the text—the gaze of the filmmaker, of the author writing about the filmmaker’s work, etc. “looking resists. looking revises. looking interrogates. looking invents, to be stared at. looking at one another. looking back” (p.31) and “having performed seeing. seeing double. seeing doubles. having performed spectatorship. I describe the lens. the film itself. the both-ness. opposition of becoming. soft focus. caught the light. depth of surfaces. multiplications as limiting” (p. 54). Could you talk a bit more about these layers?
Brittany Billmeyer-Finn: Spectatorship is innate to the process of writing this book. An important part of the process is watching films. It also becomes a source of contention and critique that develops in the four sections of the book; “the poems,” “the essay,” “the play,” and “the annotated bibliography.” Continue reading
The following post features an interview I had with Angela Hume about her upcoming book of poetry, Middle Time (Omnidawn, 2016). This book breathes intensely between moments of ecology, biology, and temporality. Here’s an excerpt:
Middle Time, p. 77
There are and will be many Best Music of 2015 lists floating around on the ‘nets, but none featuring strong female and/or genderqueer vocals—until now! In arbitrary/alphabetical order:
1. Anna Van Hausswolff – The Miraculous
This album felt more doom-metal than her last, which I was surprised by/totally okay with.
Image via Angry Little Girls, Lela Lee.
I wrote/recorded (click here to hear) the following in reaction to recent events. Also, our fabulous Weird Sister Soleil Ho wrote a related post (which you should also check out if you haven’t already)…
[Procedure: Have an actual Asian female poet silently mouth “take my face take my voice take my face take my voice” throughout this entire audio recording]
Are you a cis-white male poet who’s been rejected over and over for the same shitty poem? Do you want this same shitty poem to be selected for the Best American Poetry anthology?
Then look no further–just adopt an Asian female voice! Continue reading
The following is a music review (similar to what I did before and before) where I write what comes to me as I listen to Holly Herndon’s new album, Platform:
Traverse time apart from/next to myself
Dedicated machinery, joints dance, hum of fast-paced rise and fall
Linking slow and sudden
Stutter clearly, throughout. The fundamental frequency of great shifts.
Shift to quiet. Shift in circles. Pulse out. Outer ripples provide the current rhythm reverberating back, activating other nodes. Laser cutting across dark matter, loping looping space falling apart fa fa falling apart. Continue reading
Reading Belleza y Felicidad (Sand Paper Press) is like listening to a funny/sexy/serious/gorgeous phone conversation between best friends. In this case, the friends are Argentinian writers/artists Fernanda Laguna and Cecilia Pavón, with translation by Stuart Krimko.
Laguna and Pavón’s friendship began when Pavón attended an exhibition of Laguna’s visual art in Buenos Aires.
The alchemy generated by their first conversations eventually led to the desire to create a spatial dimension for the writing and art they were making. It quickly took shape as a physical location, a storefront gallery and art-supply store….Belleza y Felicidad [the name of the gallery as well as this book] soon came to represent a refuge in real space as a well as an important node in the realm of the imagination….The place operated as if it were really an excuse to recreate a new category of literature; the gallery was, itself, the art (xi).
When you can create as well as work alongside your friend, you know you have a true friendship—one of life’s greatest joys. Unlike romantic relationships, being BFFs is socially optional. You both choose what frequency/duration/with what level of vulnerability—and you choose each other every time you hang out.
The following is an interview between Amy Berkowitz and me for her new book, Tender Points (Timeless Infinite Light), to be published this month. A narrative fractured by trauma and named after the diagnostic criteria for fibromyalgia, this book-length lyric essay explores sexual violence, gendered illness, chronic pain, and patriarchy through the lenses of lived experience and pop culture.
My body is washing dishes and it’s in pain. My body is on hold with California Blue Cross Blue Shield and it’s in pain. My body is dancing and it’s in pain. My body is Skyping Beth and it’s in pain. My body is taking a shower and it’s in pain. My body is riding BART and it’s in pain. My body is politely saying no and it’s in pain. My body is reading a book and it’s in pain. My body is at work and it’s in pain. My body is writing this and it’s in pain. My body is walking to meet you and it’s in pain. (127)
Despite the title, Women by Chloe Caldwell (Short Flight/Long Distance Books, 2014) is not just for women. It’s for anyone who likes reading fiction but also has a problem with reading fiction. It’s also for feminists who want to read a book with predominantly female characters. It’s also for anyone who’s bisexual and/or ever questioned their sexuality. It’s also for all the above and none of the above.
“You have to read this book. It’s stayed with me for months,” I say to a friend over dinner.
“What’s it about?” my friend asks.
“It’s about…” I begin to say, even though I don’t like answering what things are about, even though I often ask others what things are about, “the difficulty of writing about experience in the same way that holding onto love is seemingly impossible.”