The Page Transformed: Achiote Press’s Visual Aesthetic (Q&A with Jason Buchholz)

Last week in our series “The Page Transformed: Part II – The Page as Canvas,” we spoke to poet Craig Santos Perez about his strategic use of visual elements like typesetting and illustrations in his poetry.  In this post, we’ll be focusing on his small press, Achiote, in order to learn how decisions about developing the nuts-and-bolts aspects of a book’s visual impact — like cover art and book design — are made.

Examples of Cover Art from Achiote Press
Examples of Achiote Press Cover Art

Achiote Press, a Berkeley-based press edited by Craig Santos Perez and Jennifer Reimer, publishes poetry and art in a range of print formats, including chapbooks, perfect-bound books, anthologies, and art books.  Each season, they put out limited-run editions of two single-author chapbooks and an issue of their unique publication, Achiote Seeds, which their blog describes as a “multi-author chap-journal.” Browsing through the beautiful covers on Achiote’s web site, one gets a sense of just how thoughtfully the design of each book has been selected in order to complement the work contained within. That Achiote has a dedicated Art Director, Jason Buchholz, is even more indicative of just how important the idea of a book as a physical art object is to the press.

We  asked Jason to talk to us about Achiote’s aesthetic vision and his role as the decisionmaker behind Achiote’s “look”.  Here’s what he had to say about his process:

“I allow our overall aesthetic to emerge from the works themselves. I read each manuscript carefully, in search of two things: recurring visual imagery, and a distilled sense of the overall emotionality of the work. In other words, I try to experience a manuscript as if it were a visual work, translating movement, change, and the other temporal qualities of writing into a single impression. I then look for an image that will match that impression, as well as the title.  The role of the title here can’t be understated – it’s the interplay of image and title that not only gives the book its initial impact,
but also creates an inescapable psychological context for reading the words inside. My primary goal with each cover is to ensure that this context remains true to the writer’s intentions. If I’m working on an anthology, I’ll try to match the unifying theme, rather than specific images or feelings. In those rare cases that we publish collections without strong themes, I simply use the opportunity to showcase a great piece of work I want the world (or at least our readership) to
see. Our overall aesthetic, then, is the sum total of all these book covers, plus my personal contributions of a simple logo and a dash of orange.

In the future I hope to produce more works that place art and writing on equal footing.  Just this week we released Her Many Feathered Bones, which sees an artist and a poet on equal footing, in a slow and deliberate dialogue in which neither art form is given precedence. To me this represents the beginning of a new aesthetic that emerges almost entirely from our artists and their work. In such cases, I will have very few decisions to make. My role will be that of front-row observer, part-time quality assurer, and occasional matchmaker.”

Thanks very much to Jason for taking the time to offer his thoughts to us, and to Craig Perez for passing our questions on to him. Please do take the time to visit Achiote’s web site and browse through the covers from their current list and archives — they are truly gorgeous, and are testament to the love, taste, and meticulous attention that goes into each of Jason’s design choices.

Jason Buchholz is an artist, writer, and editor living in El Cerrito, CA. Someday his work will be available at jasonbuchholz.com.

The Page Transformed: A Conversation with Craig Santos Perez

Craig Santos Perez with his second book, and the cover of his first.

CRAIG SANTOS PEREZ, a native Chamoru from the Pacific Island of Guahån (Guam), is the co-founder of Achiote Press (www.achiotepress.com) and author of two poetry books: from unincorporated territory [hacha] (Tinfish Press, 2008) and from unincorporated territory [saina] (Omnidawn Publishing, 2010). He received an MFA from the University of San Francisco and is currently a Ph.D. candidate in Comparative Ethnic Studies at the University of California, Berkeley. He blogs at craigsantosperez.wordpress.com.

* * *

In keeping with our investigation of “The Page As Canvas,” we recently sought the opportunity to speak with Mr. Perez about his strategic use of typography, visual arrangement of words, and maps in his first book, from unincorporated territory [hacha].  Ever gracious, he offered us the insights that follow.

LR: How did the idea for the project that is from unincorporated territory come about?

CP: My multi-book project, from unincorporated territory, formed through my study of the “long poem”: Pound’s Cantos, Williams’ Paterson, H.D.’s Trilogy, Zukofsky’s “A,” and Olson’s Maximus. I loved how these books were able to attain a breadth and depth of vision and voice. So I began to imagine each book from my own project as a book-length excerpt of a larger project. One difference between my project and other “long poems” is that my long poem will always contain the “from,” always eluding the closure of completion.

I also became intrigued by how certain poets write trans-book poems: such as Duncan’s “Passages” and Mackey’s “Songs of the Andoumboulou.” I employ this kind of trans-book threading in my own work as poems change and continue across books (for example, excerpts from the poems “from tidelands” and “from aerial roots” appear in both my first and second books). These threaded poems differ from Duncan and Mackey’s work because I resist the linearity of numbering that their work employs.

from LISIENSAN GA'LAGO p. 77
Typographic "mapping" in the poem "from Lisiensan Ga'lago" (Click to Enlarge)

LR: Your first book, from unincorporated territory [hacha], is unique in that it makes use of strategic typography, diagrams, maps, illustrations, and other aspects of its visual design to put forth both its politics and its poetics. What was your process like in developing this visual vocabulary and drafting your writing into its framework?

CP: I imagine the blank page as an excerpted ocean filled with vast currents, islands of voices, and profound depths. I imagine the poem forming as a map of this excerpted ocean, tracing the topographies of story, memory, genealogy, and culture. So creating the visual vocabulary of my work is a process of both drafting these word maps and navigating their currents.

I use diagrams, maps, and illustrations as a way to foreground the relationship between storytelling, mapping, and navigation. Just as maps have used illustrations (sometimes visual, sometimes typographical), I believe poetry can both enhance and disrupt our visual literacy.

One incessant typographical presence throughout my work is the tilde (~). Besides resembling an ocean current and containing the word “tide” in its body, the tilde has many intriguing uses. In languages, the tilde is used to indicate a change of pronunciation. As you know, I use many different kinds of discourse in my work (historical, political, personal, etc) and the tilde is meant to indicate a shift in the discursive poetic frame. In mathematics, the tilde is used to show equivalence (i.e. x~y). Throughout my work, I want to show that personal or familial narratives have an equivalent importance to official historical and political discourses.

LR: Can you talk specifically about the importance of maps and mapping (topological, geographic, typographic) within the text?  How would you describe the role of the actual maps (of flight plans, military bases, etc.) contained within the text with respect to the greater arc of the work? Do you see them as a genre of visual poem in and of themselves, or as illustrations to the text that surround them?

CP: Cartographic representations of the Pacific Ocean developed in Europe at the end of the 15th century, when the Americas were incorporated into maps: the Pacific became a wide empty space separating Asia and America. In European world maps, Europe is placed at the center and “Oceania” is divided into two opposite halves on the margins. As imperialism progressed, every new voyage incorporated new data into new maps.

As I mention in the preface to my first book, the invisibility of Guam on many maps—whether actual maps or the maps of history—has always haunted me, especially after I migrated with my family to the States in 1995. One hope for my poetry is to enact an emerging map of “Guam”—both as a place and as a signifier—into what Albert Wendt calls “new maps, new fusions and interweavings.”

The “actual maps” in my first book are, to me, both visual poems and illustrations of the rest of the work (they were created by designer Sumet (Ben) Viwatmanitsakul, based on maps that I included in my original manuscript). In my imagination, they function in two ways: first, they center “Guam,” a locating signifier often omitted from many maps. Secondly, the maps are meant to provide a counterpoint to the actual stories that are told throughout the book. While maps can locate, chart, and represent (and through this representation tell an abstracted story), they never show us the human voices of a place. I place this abstract, aerial view of “Guam” alongside the more embodied and rooted portraits of place and people (like in the poem “ta(la)ya,” which stories about my grandfather’s experience on Guam during World War II).

LR: Your second book, from unincorporated territory [saina], was recently published by Omnidawn. How was the process for the second book similar to, and different from, your process for the first?

from UNINCORPORATED TERRITORY [SAINA]
Perez's second book
CP: My second book continues the themes of culture, language, memory, family, and history that were launched in my first book. Like the first book, the second book explores various modes of storytelling, mapping, and navigation. I wrote my first book between 2004-2006, and my second book between 2006-2009. I hope that my craft has improved, sharpened, and expanded.
[Saina] more directly explores the themes of militarization and tourism. There’s also a 10-part poem that directly addresses navigation; more specifically, the poem contours the current cultural reclamation project of traditional canoe-building and navigational practices on Guam. [Saina] also contains my most ambitious poem to date, a 50-page work titled “from organic acts,” which stories my grandmother’s experience as a child during the war, her migration to the United States, and her aging in relation to the themes of religion and citizenship.

LR: What’s next on the horizon for you?

CP: I’ll be traveling for the second book in the next two months: New York this week, Guam after that, then Denver, Seattle, Portland, and Hawaii, with a few readings in the California Bay Area. In the fall, I’ll do an East Coast tour…and possibly make my way to Great Lake states. In terms of poetry, I am in the beginnings of the third book length excerpt of from unincorporated territory.

LR: Do you have any words of advice for younger poets?

CP: Keep reading, keep writing, keep submitting. One thing that helped me tremendously as a young poet is book reviewing. I couldn’t afford to buy contemporary poetry books, so reviewing allowed me to receive free books. Additionally, engaging with texts sharpened my critical / poetic thinking, which inevitably rubbed off on my creative work. Also, it’s a good way to build up your publication credits and to contribute to the critical discourse.

* * *

Thanks very much to Craig Perez for sharing his thoughts with us.  Look out for a post on Achiote Press’s visual aesthetic next week.

The Page Transformed: Part II – The Page as Canvas

Lewis Carroll's "The Mouse's Tale"

In this second installment of our March 2010 theme, “The Page Transformed: Intersections of Poetry & the Visual Arts,” we’ll be thinking about poetry which makes use of the visual elements of its form to create and enhance meaning.  Although the term “concrete poetry” was not coined until the 1950’s, poets were using elements of design and typography long before then. George Herbert’s shaped poems (like “Easter Wings”) and Lewis Carroll’s “A Mouse’s Tail” are two particularly classic examples, while a more contemporary example might be the typographical experiments of e.e. cummings (as in his poem “r-p-o-p-h-e-s-s-a-g-r“).  Thinking of the page as a space by which to convey both verbal and visual meaning paved the way for surrealist experiments with exercises like cut-up technique, which employs elements of collage to create new poems by disassembling and rearranging existing words on the page (The Academy of American Poets’ Website has an interesting article on Futurism, Dada, and Concrete Poetry).  Today, visual poetry is now a field unto itself (The Poetry Foundation has a wonderful article about the subject if you’re interested in exploring more).

George Herbert's "Easter Wings"

As we think about The Page as Canvas, we’ll be looking not only at writers who employ strategic visual elements to put forth their poetics,  but also at the importance of elements like book design, cover art, illustration, and print formats like broadsides, which really do turn text into pieces of visual art.  As we move forward into the technical elements of producing the physical page, our explorations will turn us towards the third phase of our series, in which we’ll  examine The Book as Object.

Editors’ Picks: Ekphrastic Poetry Resources

As we wrap up the first part of our March theme, we’d like to offer you the following list of resources, which we hope will inspire you to delve deeper into the world of ekphrastic poetry.

Clockwise from Top L: ArtScope Screenshot, Detail of I Gusti Putu Hardana Putra's "Unvoice" (Carrying Across Exhibit), "Camp Scene" (Art of Gaman Exhibit)

Asian American Art: Gallery Exhibits

The Art of Gaman – Arts and Crafts from the Japanese American Internment Camps, 1942-1946
Smithsonian American Art Museum | Renwick Gallery (Washington, D.C.)
March 5, 2010 — January 30, 2011

Carrying Across (curated by Yvonne Lung)
[Multimedia exhibition exploring acts of interpretation and translation]
Asian Arts Intiative (Philadelphia)
Feburayr 19, 2010 — April 30, 2010

Paj Ntaub: Stories of Hmong in Washington
Wing Luke Asian Museum (Seattle)
March 5, 2010 — October 17, 2010

Here and Now: Chapter III — Towards Transculturalism (Chinese Artists in NY)
Museum of Chinese in America (New York City)
February 11, 2010 — March 28, 2010

Poetry in the Galleries

de Young Poetry Series
Part of the”Cultural Encounters: Friday Nights at the de Young” program hosted by the San Francisco’s de Young Museum.  This month, the series is being hosted by Michael Ondaatje and will take place on March 19th. (See our Community Calendar for more details).

Claim the Block: A WritersCorps Reading Series
Student artists from the WritersCorps San Francisco program present their work at a number of gallery venues around the city.  March’s installment will take place at the Contemporary Jewish Museum.

Online Image Archives & Tools

New York Public Library Digital Gallery
A truly useful collection of over 700,000 archival images — you’ll find book illustrations, art prints, photographs, postcards, images from magazines and newspapers, and more.  We did a simple search for “chinatown” and came up with 256 really interesting hits.

SFMOMA ArtScope
If you look at nothing else in this post, you must check out this super-cool art browsing tool.  The SF Museum of Modern Art has made it possible for you to dynamically explore 4,775 individual images from their collection simply by zooming, dragging, and clicking.  Browsing through the wall of images as it expands and contracts in response to your mouse-clicks is a completely mesmerizing experience, not to mention a great free way to familiarize yourself with the museum’s collection.  Adobe Flash Player is required to view the site.

Magazines

poet’sPicturebook
Curated by Marne Kilates, this online journal focuses on ekphrastic poetry, presenting poems artfully alongside the images which inspired them.  Of note: the most recent issue includes work by Luisa Igloria, whose thoughts on ekphrasis were featured in a recent post of ours.

Ekphrasis
Ekphrasis, says its web site, “is a poetry journal looking for well-crafted poems, the main content of which addresses individual works from any artistic genre . . . Acceptable ekphrastic verse transcends mere description: it stands as transformative critical statement, an original gloss on the individual art piece it addresses.”  Ekphrasis is available by subscription.  Submissions are accepted via postal mail.

The Page Transformed: Fiona Sze-Lorrain on Ekphrasis

Man Ray's "Larmes"
Man Ray's "Larmes"

As we continue our exploration of ekphrastic poetry, poet Fiona Sze-Lorrain, whose first book (Water the Moon) we reviewed last month, graciously answers some questions that we’ve posed to her about the ekphrastic elements of her collection.

WATER THE MOON

LR: How do you envision your work with ekphrasis with respect to the larger arc or project of Water the Moon?

FSL: Ekphrasis is indeed one of the many channels I turn to for building the muscle of my imagination. The Greeks say, “In the beginning was the verb.” How about “In the beginning was the image”? I remember having read — a long time ago — an interview with the French theatre artist, Ariane Mnouchkine, who (probably influenced by the Japanese theatre philosopher and pioneer, Zeami) perceived emotion as coming from recognition, which is an useful perspective for actors. In a way or another, I too define my experience of ekphrasis as emotion coming from recognition… for instance, by recognizing something in paintings that can transform descriptive clues to deceptively personal/emotional landscapes or narrative possibilities. Part of the larger arc of Water the Moon is about dialogues with artistic voices or consciousness that follow me like shadows over time. Steichen, Van Gogh, Dora Maar, Man Ray… these happen to be just some of them whose iconic images play a role in molding my sensibilities since a child.

LR: In “Steichen’s Photographs,” you write “Photos have no verbs . . . / . . .Verbs are those trying not to pose” (58). Indeed, it seems that your ekphrastic engagement with photography in the collection is more immediate in nature than your engagement with other artistic media, like painting — for example, in “Van Gogh is Smiling,” you continually invite a reconstruction of his iconic images, “Let’s imagine fifteen sunflowers” or “Let’s retrace your starry blue night” (51), rather than delivering a direct experiential response to a particular work. In what ways does the camera’s eye provide a different type of visual or interpretive experience than other forms of visual art (e.g. painting, sculpture)?  How did these differences influence your decisions about craft and perspective?

FSL: Perhaps this is just a personal preference. I am married to a man who knows much about the world and craft of photography. By chance and good fortune, I have also crossed paths with the work of a few important photographers of our times. So I tend to feel more intimate with photographs, though paintings, to be honest, always offer me the contemplative space whenever I need it. Photographs — less so. They tend to be more visceral for me, and contain specific social realities that I can more easily identify with or pinpoint. As you can see, the cover image of my new book of poetry, Water the Moon (italics) is also a photograph. (It is entitled “Cortona,” taken by American photographer, Blake Dieter, in Italy). The clock in it is a metaphor of the Moon – in terms of time. I like films tremendously too and sometimes imagine photographs as immortalised snapshots from an unknown film. In general, it is harder for me to be oblique when writing about photographs than about paintings. You do not see something just because it is visible. There must be something else. What is it? I don’t know.

LR: Both “Steichen’s Photographs” and “Larmes” balance deftly on the seam between the perceived and the perceiver — in other words, we are made aware of the strange subjectivities at work when our gaze as readers is directed towards the speaker, whose observations become the subject of the poem as a piece of art, even while she herself is engaged in a process of fixing another artist’s subject in her own gaze. How can ekphrasis be of use to both the poet and the reader of poetry as an exercise in gaze, perspective, and subjectivity?

FSL: Ekphrasis (like any form of writing) is all about distance, because ultimately even if emotion must come from recognition, there comes a distilled point when the lie of the expression becomes evident: the artist, the painting, the poem, the writer, the reader, the reading … all these can never exist in one same space of subjectivity. “Let it not be the medium we question but the man — painter and photographer,” summed up Sadakichi Hartmann in “A Monologue” that was published in Camera Work in 1904, around the time of Steichen’s early photography. If anything, what ekphrasis offers is a bridge between various agendas, intentions and temporalities, based on an unchanging image. This bridge is dynamic — it constructs and deconstructs itself all the time. Besides, no one gaze is identical. I suppose it really is just simply the evocative power of an image that defines what we would call ekphrasis. At least this is what I feel – for now…

To read more about Fiona Sze-Lorrain, please visit her web site.   Water the Moon was released by Marick Press in February 2010 and is available for purchase on their site.

Weekly Prompt: Ekphrastic Poetry

Torso of ApolloEdvard Munch’s “The ScreamGrecian Urn

In keeping with our theme for the month, The Page Transformed, this week we’ll be looking at the ekphrastic poem, or poetry written in conversation with a work(s) of visual art.  In its most traditional form, the ekphrastic poem is an elaborate, highly detailed description of a work of art: a painting, a statue, even a drawing or photograph.  In contemporary poetry, however, the ekphrastic mode has evolved to include a wide range of forms and responses to visual art.  The poet can respond to the artwork, challenge its claims, inhabit it in the lyrical mode, or even use it as a point of departure into a larger discussion or narrative.

Alternatively, ekphrasis can also be an invitation to reflect upon the moment of encounter between the poet and painting (for example), or the circumstances under which the work of art was created.  Some of the most successful poems of ekphrasis are contemplations on the materials from which specific visual masterpieces were created.  Others adopt a mode of “re-framing” the painting, and narrate a particular scene from the perspective of someone situated outside of the painting, or someone shadowed in the periphery of the image.

Virtually any of these forms of engagement (and many others, not listed here!) can afford the poet a powerful way to further explore the rich intersections between language and visual art.

*   *   *

Prompt: write a poem that engages a work of art in one of the modes discussed above.  You can either begin with a selected work of visual art and let your poem unfold from there, or begin with a line (or image) of poetry and work “backwards,” searching for a work of art that captures the mood or sensibility you want to evoke.

However you choose to approach this, allow your creative process to be dialogic, to move in conversation between image and text, and to afford both the room to be works of art that can stand on their own.

For further reading and some wonderful examples of ekphrastic poems, take a look at the Academy of American Poets’ article “Ekphrasis: Poetry Confronting Art.”  Among the poems listed in the article are:

“Stealing The Scream“ by Monica Youn

“Archaic Torso of Apollo” by Rainer Maria Rilke

“Ode on a Grecian Urn” by John Keats

Good luck, and happy writing!  As always, please consider sharing any responses to this prompt with the Lantern Review community by posting here.

The Page Transformed: Luisa Igloria on Ekphrasis in JUAN LUNA’S REVOLVER

Juan Luna's "Spolarium"
Juan Luna's "Spoliarium"

As part of our exploration of ekphrastic poetry, poet Luisa Igloria (who was featured in our November 2009 interview) very graciously agreed to answer some questions about the role that ekphrasis plays in her most recent book, the Ernest Sandeen Prizewinning Juan Luna’s Revolver [UND Press 2009].

JUAN LUNA'S REVOLVER
JUAN LUNA'S REVOLVER

LR: In what ways did visual art inform your process in developing Juan Luna as a project?

LI: Visual art provided both a means to stimulate individual poems, as well as provide points of thematic unity between the different parts of the book.  I looked at photographs, old lithographic representations, postcards, and more.  Juan Luna’s Revolver could not have evolved without calling to poems that make some reference to art — after all, Juan Luna was a painter, one of several Filipino artists and intellectuals who left the Philippine colony for Spain and other European destinations in the mid to late 1800s to study and to travel. Juan Luna was perhaps most famous for his mural “Spoliarium” which depicted two defeated gladiators being dragged into a chamber where they would be stripped of their armor and prepared for burning. The painting won one of two gold medals at a Barcelona exposition and took the art world there by surprise.  In truth, however, I came to the Juan Luna poems in the book more gradually — the book perhaps really began with my long-standing fascination with stories about the 1904 World’s Fair in St. Louis, Missouri, and how 1100+ indigenous Filipinos were transported to serve as live exhibits there (many of them were taken from the northern Cordillera region in the Philippines, which is where I grew up). I’d done considerable research on this and looked at archival material, and it became clearer to me as the poems came that one of the central themes in this project was colonial spectatorship. Fair-goers at St. Louis in 1904 came to see the Philippine reservation and its half-clothed savages, and protested that they had paid to see “the authentic native” when well-meaning persons out of concern for their health, wondered if they should be given warm clothing to wear. While traveling in Europe, Juan Luna and his contemporaries were similarly gawked at. But through the powerful art and literature they produced (Juan Luna’s compatriot Jose Rizal wrote the two novels that further inflamed a grassroots-led revolution which finally overthrew the Spanish colonial regime) they had found a way to return the gaze of the Other.

LR: What influenced your decisions in terms of where and how to place ekphrastic poems like “Letras y Figuras,” “Dolorosa,” and “Mrs. Wilkin Teaches an Igorot the Cakewalk” within the text of Juan Luna?  How do you envision their particular contributions to the arc and the rhythm of the text?

LI: When I’m beginning to work on the structure of a book, I also like being led by the tonal and emotional congruencies between parts. I try to see what kinds of “music” might be made by the decision to set one poem next to another, one section next to another. I don’t necessarily think a chronological approach is always the best one. And, I much prefer trying to set up relationships across poems so that it might be possible for an image or motif to jettison the reader back or toward another moment, in another poem…   For example, even if the 1904 / World’s Fair poems form the last section, I hope it eventually becomes clear to readers that I’ve been trying to talk about the implications of looking at something or someone, or being held in close scrutiny, really from the very outset (such as in a very early poem in the book like “Intimacy deserves a closer look” ).

LR: In the poem “Ekphrasis,” you write of the viewing of sculpture as a process of critical reading: “the bridle that is history’s wants it to stay / its previous course — At least that’s how // it might be read” (55).  In what ways can the exercise of “seeing” and subsequently interpreting a physical object of beauty prove useful to poets in our own crafting of imagery and perspective on the page?

LI: Poets frequently “see” and “interpret” — that is, find ways to move from a physically sensuous validation of the world (“seeing” is part of that) to finding in language the means, the shape, the form in which to express it. “Seeing” has never  equated to a “neutral” activity to me. Even when I’m people-watching, I quickly realize I’m making up stories, wondering about the hidden narratives: who’s that old couple in the parking lot? where are they going, what are they thinking, who will they meet? what did they have for breakfast? When the imagination exerts an influence on what’s given, we make art. That’s one of the things that still continually amazes and humbles me – that on the one hand historical reports might say of events in the past, “these things are over, they’re done” — but that on the other hand, poetry can say, let’s look at it again; and what if?  So yes there is critical reading, but there is also a sense that meaning can be remade or that a closed door is not necessarily what we think it is.  We might think we know everything there is to know about something. But poetry always reminds us of the mystery that remains.

To read more about Luisa Igloria and her work, please visit her web site and blog.  Juan Luna’s Revolver is available for purchase from the University of Notre Dame Press.

The Page Transformed: Introduction & Part I – Ekphrasis

Breughel's "The Fall of Icarus"

During the month of March, we’ll be exploring the theme “The Page Transformed: Intersections of Poetry & The Visual Arts” in our posts.  We’re interested in ways in which poetry and the visual arts speak to one another, inform each other’s practices, and blend with one another on the page.  We’ll begin with an examination of ekphrastic poetry, and will eventually move on to explore other areas of intersection – the book as a physical object of beauty, for example, and broadsides and typography (poetry as visual art).  We also hope to feature conversations poets who engage in both the visual arts and poetry, as well as a couple of posts about visionary experimental figures like Theresa Hak-Kyung Cha, who pushed the boundaries of text as object.  Our prompts this month will also work in with our theme, and (we hope) will provide exercises that ask you to creatively engage with and perhaps try out some of the topics we’ll cover in our Editors’ Picks and Interview posts.

For this week and the beginning of next, we’ll be focusing on ekphrasis and ekphrastic poetry.  The Academy of American Poets’ website gives what I think is a helpful definition of ekphrasis: “poetry confronting art.” The  idea of the image which confronts and subsequently moves the poet to speak is clearly reflected in what is perhaps one of the best loved examples of American ekphrastic poetry: William Carlos William’s “Landscape with the Fall of Icarus,” based on Breughel’s painting “The Fall of Icarus.”  In his poem, Williams interprets the actions of the figures in the painting, highlighting the isolation of Icarus’s action in the larger context of the scene — while country people go about their daily lives, herding sheep and plowing fields, Icarus is visible only as a tiny pair of legs attached to an unseen body already engulfed in water.  Only one man looks up to the sky, but has already missed the action.  Williams plays powerfully on the desolate futility that he reads into Breughel’s interpretation of the myth:

unsignificantly
off the coast
there was

a splash quite unnoticed
this was
Icarus drowning

Williams’ poem is certainly a famous one.  But perhaps my favorite meditation on the commonalities between the work of the poet and painter in creating imagery that will resonate in the mind of the viewer or reader is Robert Lowell’s Vermeer-inspired poem “Epilogue,” which I will leave you with:

Epilogue
by Robert Lowell

Those blessèd structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?
I hear the noise of my own voice:
The painter’s vision is not a lens,
it trembles to caress the light.
But sometimes everything I write
with the threadbare art of my eye
seems a snapshot,
lurid, rapid, garish, grouped,
heightened from life,
yet paralyzed by fact.
All’s misalliance.
Yet why not say what happened?
Pray for the grace of accuracy
Vermeer gave to the sun’s illumination
stealing like the tide across a map
to his girl solid with yearning.
We are poor passing facts,
warned by that to give
each figure in the photograph
his living name.

[Text of “Epilogue” courtesy of poetryoutloud.org.  To read more about ekphrasis, visit this article on the Academy of American Poets’ website.]

Editors’ Picks: Fiona Sze-Lorrain Interviewed by Retort

Melbourne-Based Retort Magazine

We were recently given a heads’ up about this fascinating interview in Retort Magazine that Singaporean poet Desmond Kon conducted with Fiona Sze-Lorrain (whose book, Water the Moon, we reviewed earlier this year).  [Thanks, D.K., for the link!]

Fiona Sze-Lorrain

Here’s an excerpt (Sze-Lorrain on place and geography in her work):

Places permeate my writing since you may say that I am someone of travels — in exile and displacement, so-called. I’ve traveled, yes, and at times, without a choice, but I am never a tourist. Pierre Nora sees places as sites of memories; I see places as moments and years. I thought that writing about places as memories risks falling into the trap of flat sentimentalism, or a re-invention of the past. Unlike most artists in exile who eschew geographical precision, I look towards the porosity of borders — both physical and temporal — for inspiration. Otherwise, places are no different from identities, and any kind of identity will never fail to imprison souls.

To read the rest of the interview, click here.   Also worth checking out is the latest issue of Cerise Press, a magazine that Sze-Lorrain creates and edits with Karen Rigby and Sally Molini. It’s an intriguing space that beautifully mixes translation, art, and lyric — and is well worth the read.

LR News: March Blog Changes

Dear Faithful Readers,

It’s been a wonderful four months since we first started blogging. We’ve featured interviews with poets and literary magazine editors, a guest post series on the small press and Asian American poetry, reviews of two recent collections, and countless Editors’ Picks, Weekly Prompts, and Events Roundups. The focus and scope of the LR blog (as well as our audience) have started to grow in really exciting ways, and in light of this, we’ve decided to announce a few changes, to be implemented beginning in the month of March.

Community Calendar

You might have noticed that there is a now new orange tab located in the top right hand corner of the blog’s layout.  This is our new Community Calendar, which will serve as the successor to the weekly events roundups we’ve posted in the past.  Instead of posting roundups once a week, we will now be making use of the new Community Calendar page as a space on which to post a consolidated list of events once a month. We’ll do mini-updates to each month’s calendar roughly every week and a half, adding new events that we learn about during the course of the month, and removing events that have already happened.  We decided to implement this change not only to streamline the culling process for us (on the editorial end), but also to centralize the information so that it’s easier for you to find.  This way, not only will we able to keep all information about events in one location, but you won’t have to scroll through reams of past posts in order to find the roundup for the week you’re looking for. If you have the chance, please do take the time to check it out!  You’ll notice that for most of the cities listed (except for NYC) we’re a little sparse on details at the moment.  If you know of interesting APA arts events going on in one of these cities (or one we haven’t listed), please do consider suggesting them in the comments.

Speaking of suggestions, we’re also adding a new Twitter events reporting method: to suggest a new event or a correction to an existing event’s information, you can now either leave a comment on the calendar page, or mention us in a Tweet (@LanternReview), using the hashtag #APAPoetryEvent.

March 2010 Theme: “The Page Transformed: Intersections of Poetry & the Visual Arts”

During the next few months, you’ll find that many our posts will be themed around a particular subject or issue.  For the month of March, we’ve chosen the theme: “The Page Transformed: Intersections of Poetry & Visual Art.”  Throughout the month, we’ll be posting Editors’ Picks, prompts, and hopefully a few interviews as well in which we’ll be looking at poets who engage the visual arts in their work, the visual aspects of poetry, and the poem (or book) as an object.  Look out for a fuller explanation of our March theme later this week.

Upcoming this spring: Prompt Contest, AWP Coverage, Submissions

The AWP’s annual conference and National Poetry Month are both scheduled for April (next month), so be on the lookout for posts later in March relating to our plans to cover these events on the blog.  We’ll be hosting a prompt contest towards the middle of March (with the winner and three runners up to have their prompts featured during National Poetry Month), so keep your eyes peeled for an announcement to that effect.

Secondly, the Lantern Review editorial staff plan to be at AWP, and it’s possible that we might be able to organize a meetup of some sort.  If you’re planning to be at AWP, know something about venues in Denver, and would be interested in helping to coordinate an informal LR meetup, please do shoot us a quick email at editors [at] lanternreview (dot)com.

Finally, we’re still accepting submissions!  (Don’t forget that we are also looking for visual art, in addition to poetry).  Please do consider sending us your work; we would love to see it!

Thanks, and best,

Iris & Mia
Lantern Review Editorial Staff