Daniel Tiffany anchors a forum on diction in poetry; he was kind enough to ask me for a response. Here are links to his essay and to my response. There are a lot of other responses. Take a look!
Tiffany:
Tiffany:
Today, the worlds of contemporary poetry and academic scholarship about poetry and poetics are taking starkly different approaches to the social and political functions of poetry, the latter reviving attention to nuances of form, and the former increasingly preoccupied with matters of diction.
http://www.tupeloquarterly.com/speaking-in-tongues-poetry-and-the-residues-of-shared-language/
SMS:
Thank you for asking me to respond to your fascinating essay, “Speaking in Tongues: Poetry and the Residues of Shared Language.” Rather selfishly, perhaps, it resonated with me as a kind of manifesto-after-the-fact for Tinfish Press. I founded Tinfish in 1995 as a platform from which to argue that experimental forms (with their various dictions) make good vehicles for work in largely post-colonial Pacific spaces. The con/fusion of poetic form and radical diction has been central to Tinfish’s argument from publication of Lisa Linn Kanae’s (2001), Sista Tongue, Barbara Jane Reyes’s Poeta en San Francisco (2006) Donovan Kūhiō Colleps’s Proposed Additions (2014), Leona Chen’s Book of Cord (2017), Geneve Chao’s émigré (2018) many other books and poems along the way. In each of these works, dictions/languages meet at fault-lines cut by political and cultural power.
SMS:
Thank you for asking me to respond to your fascinating essay, “Speaking in Tongues: Poetry and the Residues of Shared Language.” Rather selfishly, perhaps, it resonated with me as a kind of manifesto-after-the-fact for Tinfish Press. I founded Tinfish in 1995 as a platform from which to argue that experimental forms (with their various dictions) make good vehicles for work in largely post-colonial Pacific spaces. The con/fusion of poetic form and radical diction has been central to Tinfish’s argument from publication of Lisa Linn Kanae’s (2001), Sista Tongue, Barbara Jane Reyes’s Poeta en San Francisco (2006) Donovan Kūhiō Colleps’s Proposed Additions (2014), Leona Chen’s Book of Cord (2017), Geneve Chao’s émigré (2018) many other books and poems along the way. In each of these works, dictions/languages meet at fault-lines cut by political and cultural power.
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