From a new poetry collection, “Between Plague & Kleptocracy: Invented Poetic Creations & Conversations of Seva & Bill”, in which I cross-reference poems between Vsevolod Nekrasov & Bill Knott and serve as medium and “translator” of their posthumous conversations / invented collaborations. The poems are written in the voice / tone / style of both Nekrasov & Knott, featuring borrowed lines and found poems within those lines. The poems are the transcripts of their thoughts across astral planes: what they would perhaps discuss in this perilous time in history: of pandemic, of widespread injustice, forced isolation, and of finding ourselves with a traitorous snake oil salesman / neo-Soviet puppet in our WH.
Over the years I’ve seen a lot of videopoems with footage shot from cars, but this is the first time I’ve seen the driver credited (Judy Morris). A nice touch. And I like what Gibbins does visually to suggest the way our vision and possibly our very relationship to the landscape is warped by our love affair with the automobile. Of course it has to have a driving rhythm, as well.
an experimental visual poem combining video, photography, and animation to examine the lived Black experience and ultimately ask what it means to be ‘here’.
Additional animation was contributed by Lina Maldeikyte, Chellysia Christen, Mireille Kiesewetter, Sibel Vuap and Rebeka Mór.
Extensive artist notes on the piece are to be found at Koeyers’ website.
This author-made filmpoem adapts a text from Shanna Compton‘s new collection (Creature Sounds Fade), for which it serves as a trailer. Compton notes that although all readings and launch events have been canceled in response to the pandemic, the book is still scheduled for release by late summer or early fall, and is now available for preorder from Black Lawrence Press.
“The Eyes Have Woods” originally appeared in American Poetry Review.
Post updated 21 May to correct launch information.
This deservedly won the Audience Award at the 2020 REELpoetry/Houston TX festival in January, where I first saw it and was moved by the juxtaposition of disturbing imagery — either actual police body camera footage, or a very good simulacrum of it — with the speaker’s sedate description of her own backyard: a powerful indictment of the racism and class divisions permeating American society, where Black men risk death by police or vigilante shooting every time they go out the door, even into their own grandmother’s backyard. Rest in peace, Stephon Clark. I wish this videopoem didn’t still feel so necessary and relevant.
“Twenty Times” is a powerful political and poetic video. The use of ‘lo-fi’ imagery adds to the suspense and darkness of the video. The contrast with the every day life described in the poem sets the perfect base for the message.
A new video from artist and poet Janet Lees, who calls it
A film poem for the end times
Words & imaging by Janet Lees, with thanks to Richard Heinberg for the title. Image taken on the last Thursday in April 2020.
Music, ‘On a Thursday in April’ by Crysalide Shoegaze
Perhaps I’m a bit too logocentric, but seeing the word “social” torn in half hit me like a punch to the gut.
There’s a “with poem” version of this (above) and a “without poem” version, the difference being the presence or absence of a voiceover. Laura Mullen is one of the more widely published American poets to also make videopoems. Shockingly, this is only the third video of hers I’ve shared here. Do browse her work on Vimeo.