“If you’ve ever pondered what trees think about life’s major issues, the city of Melbourne has come…”
If you’ve ever pondered what trees think about life’s major issues, the city of Melbourne has come up with an elegant solution – you can email them and find out.
The city council has devised an interactive urban forest map that provides individual data on each of the 70,000 trees that line the streets and parks of central Melbourne.
Each tree is assigned an identification number, which allows you to email it. Ostensibly this is to report damaged branches, but emailed expressions of tree devotion have been received from admirers”
[Melbourne’s trees bombarded with emailed love letters](http://www.theguardian.com/environment/2015/jan/29/city-of-melbourne-prepares-to-see-some-emails-lovely-as-its-trees)
This is either a poem or a workshop challenge. Possibly both. Via [Roberto Greco](http://robertogreco.tumblr.com)
On the road again. Running workshops at a school in Dorchester tomorrow. I’ve promised myself the rest of the week off— no professional appointments until the weekend (Walthamstow Garden Party on Saturday, featuring Barbican Young Poets and Barbican Junior Poets). I’m planning to slow down for summer. More time for deep thinking instead of grinding from deadline to deadline, trying to keep all the juggling balls in the air. Looking forward to it. Until then, there’s this train, miles to travel, poems to tease out…
- Jennifer Niven, from All the Bright Places (via the-final-sentence)
“I read somewhere that our brains are wired for poetry because it is more useful to see a stick and…”
- “Every Alphabet the Zoo Inside” by Emily Vizzo | Blackbird v14n1 | #features
“I’ve been thinking about something for a long time, and I keep noticing that most human speech—if not all human speech—is made with the outgoing breath. This is the strange thing about presence and absence. When we breath in, our bodies are filled with nutrients and nourishment. Our blood is filled with oxygen, our skin gets flush; our bones get harder—they get compacted. Our muscles get toned and we feel very present when we’re breathing in. The problem is, that when we’re breathing in, we can’t speak. So presence and silence have something to do with each other.
The minute we start breathing out, we can talk; speech is made with the outgoing, exhaled breath. The problem that this poses, though, is that as we exhale, nutrients are leaving our bodies; our bones get softer, our muscles get flaccid, our skin starts to loosen. You could think of that as the dying breath. So as we breath out, we have less and less presence.
When we make verbal meaning, we use the dying breath. In fact, the more I say, the more my meaning is disclosed. Meaning grows in opposite ratio to presence or vitality.”
–via this interview
Amal Osman works with me. She’s also one of the people responsible for this rather handsome collection of Sudanese literature…
“In my opinion, what goes on in poems should always be too complex and too interesting for complete…”
- An Interview with Susan Settlemyre Williams - by Kimberly L. Becker - Eclectica Magazine v13n1
- Ray Bradbury, via [Paris Review, The Art Of Fiction 203](http://www.theparisreview.org/interviews/6012/the-art-of-fiction-no-203-ray-bradbury)
“My own definition of art is that it is a survival device, that it is a device to help the human species to survive. If it were not, it would not have persisted so long in human culture. So you ask the question, well what is it that artists do that helps the culture survive, or what can it do? And all it can do, in my judgment, is make you attentive. Art is like a meditation, which is that in the presence of art, you become more aware of what is real. And that distinction between what is illusion and what is real is a very necessary distinction in human experience…
Do your work. There isn’t anything else. I tell the story of when I studied with Giorgio Morandi in Bologna in the early 50s. He’d never talk about art. But if you took a copper plate and were about to put it in the acid and etch it without knowing what would happen, he would always say, Coraggio. Courage. And that’s what you have to have, you have to basically be willing to plunge into life and do your work.”
What’s the kinetic quality of the group piece? How does it move through its ideas/themes/images/epiphan[y/ies]? How can you conduct/score/orchestrate a dynamic in that movement?
Think of the group poem as a piece of music… How do you script a dynamic musical movement?
Notes from tonight’s BYPoets workshop on devising group poems…
Today. At @tate Modern. With @BARpoetry poets, @BYPoets and students from Corfe Hills. Writing poems in response to work contained in the building. Ekphrasis, yes. Sharing poems from 17:00 onwards. To any of the young poets I work with who might have the time— message me if you’d like to stop by, support and hear what’s produced.
- William Deresiewicz (via austinkleon)
“What is the value of poetry? I think that poetry, at its most crucial, helps us cope with our lives…”
- First Book Interviews: #52 - Anne Shaw
Now following Warren Ellis’s blog.