Jacob Boyd
Between bouts of being hounded by agents of the Mega Energy supply
                company—men calling from Mumbai or Bengalaru who identify
                themselves without the sound of a smirk as John Marshall and Harry
                Johnson—I am enjoying a blotch of days off.

Kind of. I have felt self-hushed for a few days now. On walks, I whisper to
                the dogs c'mon, this way. Soft commands. Barely above suggestion.

Swaths of tan-green helicopter seeds pile onto the sidewalks and into the
                windshield wells. The sunlight pulses in that passing-over-of-clouds
                manner. We circle the block.

Back home, a breeze too slight to feel fills the sheer curtains.

I'm reminded of jellyfish billowing in their tank at the aquarium. A sign next
                to them calls what the jellies do—their movement—passive energy
                recapture.

It only works at low speeds.
No one believes me when I tell them I'm working.
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Cover of Questioning Minds, the book reviewed below
Questioning Minds: Guy Davenport and Hugh Kenner on the Twentieth Century
 
"[Modernism] makes use of devices like fragmentation, collage, surprising and abrupt transitions, the reduction of entire blocks of description, narrative and emotion to the telling detail. Davenport and Kenner’s letters (Kenner’s much less than Davenport’s) incorporate a number of these devices."

via LONDON REVIEW OF BOOKS
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Cover of Bei Dao's book, Endure
"[O]nce a poem is out in the world, there’s no way to predict the different uses, appropriations, misappropriations, readings and anti-readings to which it might be put, nor the places and times where it might emerge, uncanny, as if with fresh meaning.  Bei Dao’s 'The Reply' ('Huídá,' sometimes also translated as 'Answer') is one such poem, with an intense career all its own.”
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