And more generally, how do you see pop culture and poetry interrogating each other? DC: Yes! Do you watch Riverdale? I think kitsch and pop culture are everything. I have this fondness for kitsch, especially because my parents live in Las Vegas, and one of my most pivotal trips in my childhood was a family one to Las Vegas before my parents moved there.
John Donne. "Songs and Sonnets."
I mean, did Caesar even have a palace? And why is there this weird mix of replica Greek and Roman statues? And it feels like Liberace land of yesteryear.
The above really shows my thought process and associative patterns. Like, to many people, poetry feels like this highly academic and elevated genre.
But, poetry works best when you can grasp onto something from it, and then feel that sublime, orgasmic feeling. Or bacon-wrapped cherry tomato yakitori. How do we make it timeless? Yes, making references is a risk, but we might as well go all in. BC: The kitsch aspect is just one thing connecting your books. DC: All of the above. Fantasy is everything, especially when you aim to create your own poetic worlds.
Or how do you see the idea of fantasy in dialogue with your craft? I love that. And a centerfold will be fifty-feet tall. And hotel rooms have endless caviar and stripper poles and round beds and Picassos on the wall and bowling alleys and pools that run on and on for miles.
Virtual International Authority File
The writing process is simply more fun that way. I think a lot about what my mentor and poetry mother, Barbara Hamby says about image. Image is everything and when poems end on an image, the reader has this lasting imprint. How has the experience behind Submittable changed your writing or submission practices? What do you look for in poems that come into The Southeast Review and Hobart?
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F.A.L.D. #13 Artist Feature : Jeffrey Cyphers Wright
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