~ March 2014 ~
Sideshow by Lauren Wheeler
This is Crevice, a terrific videopoem I happened across on Vimeo a few weeks ago. It’s the work of Tiffany Irene, who according to her Vimeo user bio is a film student at Temple University in Philadelphia. Summer Patterson is the actor.
Lauren Wheeler has an interesting background: a video game developer who describes herself as a “recovering slam poet.” For the text of the poem, see The Nervous Breakdown.
Is this Beulah Land? by Al Rempel
A new videopoem by filmmaker Stephen St. Laurent featuring the words of British Columbia-based poet Al Rempel. It came about in a uniquely collaborative fashion, according to the YouTube description: “It started with a musical piece by Jeremy [Stewart]. Al then took that music and wrote a poem to accompany it. Steph then sculpted the video and directed Teresa [DeReis] in the voice work.”
Waking by Doireann Ní Ghríofa
Irish poet Doireann Ní Ghríofa, composer Stephen Moore and filmmaker Peter Madden have collaborated on a powerful filmpoem dedicated to Savita Halappanavar, who died on 28 October 2012, at University Hospital Galway in Ireland, of complications from a miscarriage after the hospital refused to perform an abortion. As people around the world celebrate their real or imagined Irishness today, it might be worth remembering some of the less savory aspects of St. Patrick’s legacy — or perhaps, to put it in a more positive way, some of the figurative serpents that still remain for Patrick’s spiritual descendents to cast out of Ireland.
The poem, originally titled “Recovery Room, Maternity Ward,” may be read in Numéro Cinq, which featured the video along with this description from the poet:
My poem Waking gives voice to a woman waking up in the recovery room of a maternity hospital. At the core of this poem is the sense of disorientation, loneliness and loss that follows a miscarriage. This is an experience that is, sadly, not unfamiliar to me, personally.
I chose to dedicate Waking to the memory of Savita Halappanavar, whose appalling death while under the care of the Irish maternity system left many in shock. She was admitted to hospital while suffering a miscarriage, and despite her repeated requests to terminate her pregnancy, she was denied the procedure that would have saved her life. Savita’s death led to many protests both in Ireland and abroad, where protestors demanded a review of Irish law that prevented her from accessing the abortion that would have saved her life. I would wish nothing more for Savita than to allow her the treatment she needed in order to wake up and draw breath, and it angers and saddens me to live in a country where a woman must die in order for society to effect essential constitutional change.
I am very grateful to the talented filmmaker Peter Madden for interpreting my poem visually with a sensitivity that I believe honours those many, many women who each year suffer the pain of miscarriage in silence. The haunting soundtrack is an original musical composition by guitarist Stephen Moore that adds further depth to the collaboration.
In my kitchen in New York by Allen Ginsberg
Last week’s Sunday bonus post went over well, so here’s another, also a bit spiritual, for all you church-of-the-brunch types. In this one, the late Allen Ginsberg does Tai Chi in his kitchen over an audio track of Allen Ginsberg reading a poem about doing Tai Chi in his kitchen. Found via the lyrikline blog, which notes:
This clip is one of the earliest “Poetry Spots” Bob Holman made between 1986 and 1994 for the New York public television station, WYZC. Holman produced around 50 “Poetry Spots” in total.
For more of Holman’s poetry videos, see his YouTube channel.
“Anything I create belongs to anyone who wants it”: an interview with Bill Yarrow
This is the ninth in a series of interviews with poets and remixers who have provided or worked with material from The Poetry Storehouse — a website which collects “great contemporary poems for creative remix.” Anyone who submits to the Storehouse has to think through the question of creative control — how important is it to you, what do you gain or lose by holding on to or releasing control? Our ninth interview is with Bill Yarrow.
1. Submitting to The Poetry Storehouse means taking a step back from a focus on oneself as individual creator and opening up one’s work to a new set of creative possibilities. Talk about your relationship to your work and how you view this sort of control relinquishment.
BY: I don’t believe in private property (alas, I live in a world which does), and neither do I believe in private intellectual property. As far as I’m concerned, anything I create belongs (excluding rights reserved to any and all publishers of the material) to anyone who wants it, and everyone can, with attribution (and respecting publishers’ rights where applicable), use it in basically any way he or she likes.* So when I found out about The Poetry Storehouse, I was delighted because its philosophy of sharing and collaborative creativity is my philosophy as well.
2. There is never any telling whether one will love or hate the remixes that result when a poet permits remixing of his or her work by others. Please describe the remixes that have resulted for your work at the Storehouse and your own reactions to them.
BY: When you send your work out into the world, you are releasing it, you are giving it away. It no longer belongs to you. You can’t control how people read it, react to it, interpret it, or, in the case of The Poetry Storehouse, reuse and remix it.
I am delighted that other artists found two of the poems I put in The Poetry Storehouse of enough interest and inspiration to fashion from them something of their own. Othniel Smith’s fashioned a literal rendition of my poem “Florid Psychosis.” I found his video remix an extremely witty and entertaining translation. Nic S. sought a poetic counterpart to my poem “Need” and created (adding her own brilliant reading of the poem as well as a beautifully haunting soundtrack) a mesmerizing video. I was enchanted by her remix. I especially liked that both creators found their material in the Internet Archive, Othniel using film clips from films in the Prelinger Archive, Nic using footage mostly from NASA archives.
3. Would you do this again? What is your advice to other poets who might be considering submitting to The Poetry Storehouse?
BY: In a heartbeat!
My advice to other poets? Submit your BEST work to The Poetry Storehouse in a heartbeat!
4. Is there anything about the Storehouse process or approach that you feel might with benefit be done differently?
BY: I just write poems. I don’t have imagination for much else.
5. Is there anything else you would like to say about your Poetry Storehouse experience?
BY: Yes, two things.
- The Poetry Storehouse accepts previously-published poems! Do you understand how important, how generous, and how amazing that is?
- Having your work available to further development and expression (personally, I see it as resurrection) is a great blessing. Being published on The Poetry Storehouse is a munificent opportunity. If you don’t take advantage of it, you have only yourself to blame.
*That is to say, a Creative Commons Attribution-Non Commercial license.
http://creativecommons.org/licenses/by-nc/3.0/
http://creativecommons.org/licenses/by-nc/3.0/legalcode
“We relinquish control the moment we agree to publish our work”: an interview with Lennart Lundh
This is the eighth in a series of interviews with poets and remixers who have provided or worked with material from The Poetry Storehouse — a website which collects “great contemporary poems for creative remix.” Anyone who submits to the Storehouse has to think through the question of creative control — how important is it to you, what do you gain or lose by holding on to or releasing control? Our eighth interview is with Lennart Lundh.
1. Submitting to The Poetry Storehouse means taking a step back from a focus on oneself as individual creator and opening up one’s work to a new set of creative possibilities. Talk about your relationship to your work and how you view this sort of control relinquishment.
LL: Unless someone decides to edit my words, changing their meaning to suit different purposes, I’m not all that possessive or reactive. We relinquish control the moment we agree with the editor who wants to publish our work. Some presentations carry the words, and some drop them from a tall building. We take that chance. I confess I had a moment’s paternal concern (or perhaps culture shock) when Nic S. recorded one of my poems which was clearly written in a male voice, but only because mine is the sole voice that had read my work aloud up to that point. After a mental step back, I recognized the reading as excellent and life went on.
2. There is never any telling whether one will love or hate the remixes that result when a poet permits remixing of his or her work by others. Please describe the remixes that have resulted for your work at the Storehouse and your own reactions to them.
LL: The recorded readings by Siddartha Beth Pierce and Nic have pleased me. They’re true to my intent in gathering the words, even with different choices in cadence and emphasis. The video and soundtrack choices in the remixes by Nic (Sandburg and Photograph), Marc Neys (Elegy), and Paul Broderick (also Elegy) represent somebody else’s visions of what the words mean, and I respect that — not because it’s what I signed on for, but because I don’t believe any piece of art means precisely the same thing to any two beholders (or to any single one across repeated meetings). The end result is fascinating to me in how the shifted colors and nuances of my words still work nicely through those different interpretations.
3. Would you do this again? What is your advice to other poets who might be considering submitting to The Poetry Storehouse?
LL: Hell, yes, I’d do this again, and hope to get the chance. It’d be lovely if repeat submissions became part of the policy. As for other writers, my advice would be to think in terms of the larger process, follow the Poetry Storehouse’s guidelines — and if in doubt or puzzled, ask Nic her opinion; she’s a pleasure to work with.
4. Is there anything about the Storehouse process or approach that you feel might with benefit be done differently?
LL: There’s nothing I’d change. This has been a great learning experience, and I’m pleased with how my words have been handled. It’s certainly broadened my horizons and offered more paths for me to follow as an artist.
5. Is there anything else you would like to say about your Poetry Storehouse experience?
LL: Yeah: Thank you!
“Even the fluffiest piece can have a flip side”: an interview with filmmaker Paul Broderick
This is the seventh in a series of interviews with poets and remixers who have provided or worked with material from The Poetry Storehouse, a website which collects “great contemporary poems for creative remix.” Paul Broderick is a filmmaker. His recent short poetry film “CATS” by H.P Lovecraft will make its debut at the Peak Film Forum “Show Us Your Shorts” Short Film Screening in Colorado on March 11th 2014. Paul and his wife Arlene reside in Queens New York with their three cats Max, Cali and Sammy. He can be reached at gumppaul@aol.com and can be found on Facebook.
1. Would you briefly describe the remix work you have done based on poems from The Poetry Storehouse?
PB: I have remixed two pieces thus far from The Poetry Storehouse, poems by Dustin Luke Nelson (“A Short Film For Today About What Happened Yesterday“) and Lennart Lundh (“Elegy“). Both poems caught my eye and I had to give them a visual voice.
2. How is The Poetry Storehouse different from or similar to other resources you have used for your remix work?
PB: The closest I have come to anything resembling The Poetry Storehouse would have be the website archive.org, the difference being the amount of contemporary poems at the Storehouse with readings attached. This I have affectionately begun to call “shake & bake productions” or one-stop shopping… everything the film maker needs is right here. When I found out that there was a sub-genre of film production called poetry-film, it was off to the races.
3. What specific elements do you look for when you browse offerings at The Storehouse (or, what is your advice to poets submitting to The Storehouse)?
PB: I am a very big fan of horror and the supernatural. I will first look for the elements in a poem that I can translate visually with an emphasis on things that are dark. Even the fluffiest piece can have a flip side. Collaborative is the keyword. As an author, the poet is taking a leap of faith by allowing their work to be interpreted by someone they have never met, and this is the beauty of the creative process.
4. Talk about how the remixing process comes together for you. For example, does your inspiration start with a poem, or with specific footage for which you then seek a poem?
PB: I will read a poem and immediately start tossing some ideas around in my head and then the creative process will begin. For me it all begins with the author’s work.
5. Is there anything about the Storehouse process or approach that you feel might with benefit be done differently?
PB: The poetry storehouse is a wonderful place. When a poem, reading and visual style come together, it is a sight to behold…
6. Is there anything else you would like to say about your Poetry Storehouse experience (or anything else)?
PB: My experience here has been wonderful. I would however, like to take a moment to thank some of the people that have inspired me along the way: my beautiful wife Arlene, who puts up with my endless hours and obsession with film making; an old friend of more than 30 years, Ralph Giordano, director/filmmaker who first introduced me to film poetry; another old friend, Robin Taylor-Southern—a voice-over artist who has generously lent her voice and time to my projects; and a special nod to Erik J. Nielsen, comic book illustrator (Amphibimen Comics) and an old friend… thank you, Erik.
Elegy by Lennart Lundh
This is The Wrong Film (Elegy) by Swoon (Marc Neys), which he blogged about here:
I have been working on ‘Poetry Storehouse’ videos in between workshops and commissioned projects. Perfect way to create a (much needed) distance from one project while playing around with another one (with less pressure)
As I said before The Poetry Storehouse is a great place to browse.
This videopoem started out with ‘loose’ footage I shot in Athens (during a workshop for Frown. More on that in a later post). I wanted parts of a ping pong table almost to feel other-worldly.
Back at home I stumbled on this great instrument: http://www.femurdesign.com/theremin/
The selection of poems in the Storehouse is evidently large and diverse enough that a filmmaker with some footage and music already in hand can locate a suitable text, as Swoon did:
Somehow I thought the feel of the poem and the alienating music fitted well together and were a great ‘match’ with the ping pong footage. When I say ‘match’, I mean there’s a lovely friction between it all. It seems wrong (hence the title) and strangely suitable at the same time…
On Miles Platting Station by Simon Armitage
Kate Jessop originally made this for Comma Film (a project of UK publisher Comma Press) in 2007. It’s the most recent video feature at American literary magazine Tin House.
Jessop’s On Miles Platting Station is an adaptation of Simon Armitage’s likewise titled poem. A muted collage, it follows an imagined trip on a rickety train from the Pennines into the dangerous crowds of central Manchester.
“I grew up in the same Pennine village as Simon Armitage,” Jessop said, “and would often take this train into Manchester. When I realized he had written a poem based on this journey, I knew I had to adapt it to screen—it being particularly personal as it signified my journey out of childhood into adulthood and my own life in Manchester.”
Do click through and read the rest. As with everything in Tin House Reels, the write-up is thorough and engaging. It’s great to see a major literary magazine prioritizing “videos by artists who are forming interesting new relationships between images and words,” and unlike certain other august literary organs, they’re not demanding web exclusivity and preventing other people from sharing and embedding their videos. Yay!
Circles in the Sky by Bob Hicok
This latest Motionpoems animation is by Keri Moller. The poem is from Bob Hicok’s collection Elegy Owed. The Motionpoems monthly email newsletter included this brief exchange with the poet. I like his suggestion for a writing exercise:
MOTIONPOEMS: How did this poem begin?
BOB HICOK: Seeing vultures and loving vultures for being underrated as beauty queens (and kings).
MOPO: What’s your favorite moment in the poem, and why?
HICOK: When it’s over. So i can go work on my shed.
MOPO: Motionpoems are used in classrooms a lot. If you were to recommend a writing prompt or exercise using this poem as a model, writing teachers and students might find that very useful.
HICOK: Go outside. Thrust your arms out like the wings of a vulture. Run in circles around what you imagine to be a grave. Come back in. Write a poem in which you wonder why you didn’t run in circles around what you imagine to be a garden. Put flowers in the garden and a child eating dirt. This may be way too specific. Open your notebook. Write your mind.
This is Hicok’s second poetry film from Motionpoems. The first, “Having intended to merely pick on an oil company, the poem goes awry,” made by Joanna Kohler, remains one of my all-time favorites of theirs. But this one’s also a gem. Something of Hicok’s droll, off-kilter wisdom seems to have infected both filmmakers.
