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Veronica Golos
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This is my final blog, (and just when I’ve gotten used to it!). I’d like to thank Molly Peacock for suggesting me to Stacey Harwood, Managing Editor of Best American Poetry blog, and for allowing me the space to write some of my thoughts. To come full circle, I have been thinking about the uses of Persona poems. Persona poems are an invitation to speak in the voice of an imagined other, like acting, you enter the character, but it is the YOU the poet/actor who enters, and takes on or adds the persona. It is a possession of sorts.... Continue reading
Posted Jun 14, 2013 at The Best American Poetry
“It is not the soil that is occupied…colonialism has settled itself in the very center of the…individual, and has undertaken a sustained work of cleanup, of expulsion of self…there is not occupation of territory on the one hand, and independence of persons on the other. It is the country as a whole, its history, its daily pulsation that are contested, disfigured, in the hope of a final destruction. Under these conditions, the individual’s breathing is an observed, an occupied breathing. It is a combat breathing.” Iraq? Afghanistan? Palestine? No. But it could be. This is Frantz Fanon writing about the... Continue reading
Posted Jun 13, 2013 at The Best American Poetry
Help me understand something. For the past dozen years or so, many students, particularly undergraduates, and throughout the country, have challenged me for writing in sympathy or portraying the plight of others not myself, particularly Native Hawaiians, Chinese detainees on Angel Island, Arab detainees in Guantanamo, African American blues and jazz artists. What is there in the current zeitgeist that proscribes literary acts of intellectual, imaginative, and emotional sympathy and solidarity? It seems mis-appropriation is a concern, as it is strongly implied in all the questioning I've received. Or, other times, I've heard my work faulted for its concentration on... Continue reading
Posted Jun 12, 2013 at The Best American Poetry
“The past is not dead. It’s not even past.” – William Faulkner I have just had the pleasure of writing an introduction to poet Eleanor Swanson’s Trembling in the Bones, to be re-issued by 3: A Taos Press. Swanson utilizes documentary evidence of the Ludlow Mine Massacre of 1914 for her poems. I raise this because as a poet, I am haunted by history. In particular, the history of America. According to Joseph Harrington in Docupoetry and Archive Desire, “we are in the midst of something of a flourishing of documentary literary forms.” Frankly, I hope this is the case.... Continue reading
Posted Jun 11, 2013 at The Best American Poetry
First I'd like to thank Molly Peacock for introducing me to Stacey Harwood. This is a wonderful opportunity. I'm originally from New York, born and raised, and came to Taos in 2005 when I had a fellowship to the Wurlitzer Foundation. In my three -month stay, I fell in love with the place, its landscape, its horizontalness! Taos' wide gold and green mesas seem to push open your ribs. There are artists of all kinds here: visual, musical, writers, dancers. The entire town is like an artist's residence, and 2012 was the year of "The Remarkable Women of Taos." That... Continue reading
Posted May 20, 2013 at The Best American Poetry
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May 19, 2013