worked on revising my exam lists today (item number one on my utterly ridiculous list). it took three hours, rather than the projected one hour. but i ran into this poet, who i don't know well but who's on my list.
my lists are organized around gender, performativity, and experimentation. every text on the list has to be relevant to at least two of the three themes or it gets cut.
i'm particularly interested in performance and poetry, one of the reasons eva gave me the poems of kabir sung.
what happens when the importance of sound in poetry recedes, gives ground to the written word?
what's the relationship between the way the poem looks and the way the poem sounds?
what are the advantages of an orally conveyed poem over a poem conveyed on the page?
since some of my work resides in the sound category, particularly with lalage*, this area of the exams is personal and important. also something that comes more and more to the foreground in the work i want to do in the future.
(i forgot to put on my summer to-do list: get you tube channel)
i look forward to learning more about morris, and to this aspect of my exam lists in general. here's the text of tracie morris' piece:
She's the one. Give her some. Under fire. Smoking
gun. Of which songs
are sung, raps are spun, bells are rung, rocked, pistols
advances blocked, well stacked she's jock. It's all about
you girl. You go
on. Don't you dare stop.
*lalage performs next week in seattle on the wayward music series:
Thursday 31 May 2012
Chapel Performance Space
4th Floor of the Good Shepherd Center
4649 Sunnyside Ave. N, Seattle (at 50th, Wallingford)
$5 - $15 suggested donation
inspiration: poetry in the air rather than on the page
looking forward: what to expect when you're expecting with eva tonight/ingrid's return