A thanks to the poets whose work I got to hear in Portland in 2014. More readings happening this year than any other I've been here: 2013, 2012, 2011, 2010, 2009, 2008&2007.
Adamshick, Carl Alessandrelli, Jeff Armantrout, Rae Arterian, Diana Ashby, Chris
Beer, John Belz, Aaron Bernheimer, Alan Blanchfield, Brian Boldt, Lindsey Borsuk, Amaranth Brewington, Tyler Buuck, David
Carter, Nathan Wade Carty, Bill Clemenzi-Allen, Ben Cobb, Allison Conrad, CA Coolidge, Clark
Dowling, Sara Downing, Brandon Dunbar, Donald
Ferguson, Elizabeth Frey, Emily Kendal
Gamble, Hannah Gray, Robert Duncan Gregory, Jane
Haber, Zack Haley, Jamalieh Handal, Nathalie Hartigan, Endi Bogue Houlberg, Laura Huffman, Jibade-Khalil
Kaupang, Aby Kunin, Aaron
Landers, Sue Larkin, Maryrose Lohmann, Sam
Mac Cormack, Karen Maziar, Paul McCaffery, Steve
Radon, Lisa Rocha, Flavia Ruoff, Lindsay Allison
Schaefer, Standard Schirmann, Kelly Schlegel, Rob Schlesinger, Kyle Schluter, Kit Shaner, Tim Shaw, Anne Sigo, Cedar Sikelianos, Eleni Silliman, Ron Smith, Rich Smuggles, Julian Spahr, Juliana Straw, Timmy Strickland, Stephanie Sullivan, KMA Swenhaugen, Drew Scott
Toliver, Ashley Tran, Stacey Trigg, Nicole
Warren, Alli Wiatr, Zosia Wilkinson, Joshua Marie Woods, Sarah
[spoken: “If I die, I’d like to be in a place where people can come and have a picnic or a barbecue. I wouldn’t be offended if you’re barbecuing around my grave or my headstone; I just want people to know that.” ]
Morgan Myers’sinsightful write-up of “Names of the Hits (of Diane Warren)” got me thinking about Stan Apps’s excellent review of “Rules for Drinking Forties” a couple years back. That may count as navel gazing, but what I like about both is how smoothly they move out from the poems into larger areas of inquiry. For Myers, it’s the poetic virtues of appropriation and the “emotional extremism” we no longer much tolerate in poetry, but allow ourselves in the schmaltzy excesses of pop; for Apps, it’s the process by which the “impure” vitalities of idiomatic speech come to nose their way into the privileged linguistic locker room of the literary and “poetic.” I’m glad for both responses, and for the blogs that still let you read them during workdays at a click.
Morgan Myers reviews“Names of the Hits (of Diane Warren)”, with a bonus analysis of the “blinding crucible of nuancelessness” that is the Emily Dickinson of Pop showing us us. However much you love it, it’ll still love you more.
Author of Etruria (Wave Books, 2014), Musee Mechanique (BlazeVOX, 2006), and Rouge State (Pavement Saw, 2003). Once wrote an expensive book about I.A. Richards and China. Married Lesley Poirier; lives in Portland, Ore.