"psalmbook" was written in response to individual psalms from the Book of Psalms, King James Version. I was mesmerized by the voice I heard there, both as music and in the way it flickers, for me, between the absolute necessity of belief and the absolute impossibility of belief. The voice I hear is so full of yearning, so conflicted, and so human. Ideas of radical listening—channeling—and Jack Spicer’s concept of correspondences ("After Lorca") also haunted me as I wrote.
Laura Walker on "psalm 100" |
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An Interview with Johannes Göransson
"I can’t speak for other bilingual writers, but for me, my bilingualism has meant that I don’t ask language to be stable (because I know it isn’t) and I embrace the glitches. I think that’s true of all my books to some extent, but I really foregrounded it in Summer. Sometimes the relationship feels like a struggle and sometimes it’s more fluid, playful, sonic."
via LIGEIA MAGAZINE |
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What Sparks Poetry:
Boris Dralyuk on Julia Nemirovskaya's "Verse"
"'Verse,' by the Russophone American poet Julia Nemirovskaya (whose surname, it occurs to me, might share an origin with Nemerov’s in the town of Nemyriv, Ukraine), spoke to me straight away, as Julia’s poems always do. I’ve been translating her work for over a decade now, developing a vocabulary in English that isn’t quite mine and isn’t quite hers (how could it be, since she writes in Russian?) but is very much ours." |
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