The "anonymous painting" which caused this poem to be written is in the Accademia museum in Venice in the first room. There was a bench under the painting and whenever I sat on it I felt protected somehow by the painting—both the figure of the dead god and the fragile glory of the daisies. The poem emerged from not understanding where those tears came from!
Jim Moore on "Not to Know How to Live" |
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A Short Conversation with Ada Limón
"Poetry, for me, is a full-body experience. Whatever state my body is in when I write a poem, that’s part of the poem, the full sensory experience, the heat, the smells, the breath. The same is true when I hear or read a poem for the first time, it’s a bodily response, a corporeal event."
via MCSWEENEY'S |
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What Sparks Poetry:
Silvina López Medin on Susana Thénon's Ova Completa
"This book questions systems of faith and is also, among many other things, something of a search for ways 'to believe'....There must be way out, an exit, Thénon seems to be telling us, and that’s why she keeps asking, questioning, putting one word in front of the other, traversing the void in between, building out of words something that goes beyond words, a space with no hierarchies of language, of register, of form." |
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