488. Hold the Thorns
Postcarding and DaySonging (A Workshop). In this session it will be a presentation of how the postcard fest developed, how the daysong developed, how I prepare for the fest and how participants attending prepare for the fest, as well as how to prepare for a successful daysong. The similarities of the daysong to serial poetry could be discussed, as well as the effort to put one’s self into the open, which has benefits in one’s own life.
Part of the Cascadia 2050 mission is: to inspire artists and poets of the next generation to consider bioregionalism and intuitive poetic approach as a way to foster a more just and sustainable Cascadia by 2050. To this end, one of our goals is to interview people who help us spread awareness by having practices in their lives that reflect these values. This interview with Postcard Poet Laura Gamache, a Seattle who has published poetry in the usual places, such as chapbooks, journals and anthologies, and also unusual places, such as buses, is the first of the series.
Hello Postcarders, Bioregionalists, Poets, et.al, I am writing you today on behalf of Cascadia 2050 to invite you to...
Investigative Poetry: which is what I’ve always said I was doing, starting with Hard Country. I don’t recall reading Ed Sander’s essay, published by City Lights in 1976, but to read it last night brought that time back vividly. Jack Hirschman raved to me about all the guys in this essay, even Hart Crane’s the Bridge, which I did read. I’ve never been able to tolerate Ezra Pound much, not just because of his Hitlerism, anti-Semitism, fascism, authoritarianism, and his betrayals of H.D. but because all that shows in his screaming poems. At least Ed Sanders says so too, though saying even so you got to read him, and I think it’s been Jack whose always called him Ezra Dog. Yet still the homage continues: an old poet friend Michael Gregory has just completed a booklength poem in study of Pound. In writing The Visit–I’m polishing it now–I’ve anguished over many things, but mostly maybe about why I undertake writing on such huge issues that most poets wouldn’t recognize as poetry!(And realizing that this particular narrative probably should have been prose.) Then I remember, of course, this is Investigative Poetry! “Investigative Poetry: that poetry should again assume responsibility for the description of history.” Thank you Ed Sanders. I think I first knew of you when you covered the Charles Manson trial for the Los Angeles Times. Facebook, Oct 6, 2014