CONTENTS: on Laura Elrick: Taylor Brady (US) and Andrea Brady (UK). on Heather Fuller: Kristen Gallagher (US) and Ian Patterson (UK). on Carol Mirakove: Brian Kim Stefans (US) and Keston Sutherland (UK)
You end up with THIS, with QUID 11, a document with certain priorities. Among its priorities is the head-on recognition of a certain dialectic. That dialectic is now hosted by the United States. The dialectic is ancient as Anaxagoras in the bright flush of his youth: as the imperial power of a nation and the real extension of its violent imperium increase, so also do the powers of abstraction in the national language to which the national poetry can be raised. A national language like “American English” which is cross-enlivened and multiplied by other languages present within the same society is not any less singular or monumental on that account; rather, multiplicity becomes itself a singular predicate and monument-aspect of the national language, in line with U.S. ideology as a whole. Can the same thing remain true of poetry’s differences also: is poetry in this way bound to duplicate itself as a monument and paean to the political economy in which its owners are sustained? One considerable and vital task now facing U.S. poets—and, you know, we’re all U.S. poets in some sense—might be a confrontation with abstraction per se, a fire-drill inside it. What chunks of material life are shaken out.