Andrew David King
In Which the Classics are Canvases: Matt Kish on Illustrating Melville and Conrad
Matt Kish’s project to create one image for every page of Moby-Dick takes its place in a long pantheon of artworks as veritably obsessed with Melville as Ahab was with chasing the whale. But Kish’s project, unlike Ahab’s, took him…
The Weight of What’s Left [Out]: Six Contemporary Erasurists on Their Craft
The choice to use erasure as a poetic technique is not, strictly speaking, a new one: in 1969, for instance, Marcel Broodthaers erased Mallarmé’s Un coup de dés jamais n’abolira le hazard by covering lines of the poems with black stripes.…
Politics, erasure, and a ‘sometimes genuine music’
The question I want to ask is whether or not the act of erasure produces another voice—if the process of effacing (or defacing, as such may be a more accurate term in some cases) a lyric “I” only creates another…
A metaphysic of the page, a mode of inquiry called wonder: an interview with Dan Beachy-Quick
B. K. Fischer, writing about two of Dan Beachy-Quick’s books for the Boston Review, locates what she sees as a struggle for him and his contemporaries—or for any poet born in a “post-structuralist intellectual climate,” where arguments about the instability…
The doublespeak of texts and subtexts: indicting the found political poem
The found political poem is a sort of chimera, a cross-breeding of two genres in which questions of authorship and ownership—and the fine distinction between them—run amok. One of its parents is the technique of meshing discovered materials into a…
