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THE END OF THE WORLD PROJECT Edited By RICHARD LOPEZ, JOHN BLOOMBERG-RISSMAN AND T.C. MARSHALL “Good friends we have had, oh good friends we’ve lost, along the way.” For Dale Pendell, Marthe Reed, and Sudan the white rhino TABLE OF CONTENTS Editors’ Trialogue xiii Overture: Anselm Hollo 25 Etel Adnan 27 Charles Alexander 29 Will Alexander 42 Will Alexander and Byron Baker 65 Rae Armantrout 73 John Armstrong 78 DJ Kirsten Angel Dust 82 Runa Bandyopadhyay 86 Alan Baker 94 Carlyle Baker 100 Nora Bateson 106 Tom Beckett 107 Melissa Benham 109 Steve Benson 115 Charles Bernstein 117 Anselm Berrigan 118 John Bloomberg-Rissman 119 Daniel Borzutzky 128 Daniel f Bradley 142 Helen Bridwell 151 Brandon Brown 157 David Buuck 161 Wendy Burk 180 Olivier Cadiot 198 Julie Carr / Lisa Olstein 201 Aileen Cassinetto and C. Sophia Ibardaloza 210 Tom Cohen 214 Claire Colebrook 236 Allison Cobb 248 Jon Cone 258 CA Conrad 264 Stephen Cope 267 Eduardo M. Corvera II (E.M.C. II) 269 Brenda Coultas 270 Anne Laure Coxam 271 Michael Cross 276 Thomas Rain Crowe 286 Brent Cunningham 297 Jane Dalrymple-Hollo 300 Philip Davenport 304 Michelle Detorie 312 John DeWitt 322 Diane Di Prima 326 Suzanne Doppelt 334 Paul Dresman 336 Aja Couchois Duncan 346 Camille Dungy 355 Marcella Durand 359 Martin Edmond 370 Sarah Tuss Efrik and Johannes Göransson 379 Tongo Eisen-Martin 397 Clayton Eshleman 404 Carrie Etter 407 Steven Farmer 409 Alec Finlay 421 Donna Fleischer 429 Evelyn Flores 432 Diane Gage 438 Jeannine Hall Gailey 442 Forrest Gander 448 Renée Gauthier 453 Crane Giamo 454 Giant Ibis 459 Alex Gildzen 460 Samantha Giles 461 C. S. Giscombe 472 Peter Gizzi 476 Anne Gorrick 479 Richard Greenfield 493 Jaimie Gusman 495 Drum Hadley 500 Rob Halpern 501 Roberto Harrison 503 j/j hastain 507 Jonathan Hayes 512 Kris Hemensley 517 Fanny Howe 520 Angela Hume 522 Stefan Hyner 536 Tim Ingold 546 Hiromi Itō 556 Adeline Johns-Putra 562 Pierre Joris 565 Tim Kahl 566 Jennifer Karmin and Bernadette Mayer 575 Lynn Keller 578 klipschutz 586 Márton Koppány 587 José Kozer 595 Abdellatif Laâbi 631 Sonnet L’Abbe 634 Janice Lee 635 Ágnes Lehóczky 640 Richard Lopez 652 Chip Lord 654 Rupert M Loydell 655 Eric Magrane 657 Peter Manson 666 Colin Lee Marshall 682 T.C. Marshall 687 Lila Matsumoto 697 James Maughn 699 Rachel May 703 Bernadette Mayer 706 Cris Mazza 707 Jim McCrary 714 Bill McKibben / Kathy Jetñil-Kijiner and Aka Niviâna 715 Scott McVay 723 Brigid Meier 724 Miranda Mellis 727 nick-e melville 745 Billy Mills 752 Gustave Morin 760 Rusty Morrison 767 Charlie Morrow 769 Eileen Myles 813 Heather Nagami 817 Sawako Nakayasu 818 Camilla Nelson 820 Paul Nelson 822 Ron Padgett 832 Shin Yu Pai 834 Lars Palm 844 Michael Palmer 848 Stephen Parlato 849 Dale Pendell 853 M NourbeSe Philip 858 Tiare Picard 863 Deborah Poe 871 Stephen Ratcliffe 875 Marthe Reed 880 Evelyn Reilly 884 Noʻu Revilla 893 Robert Rissman 896 Ed Roberson 904 Kim Stanley Robinson / Donald Wesling 910 Kit Robinson 918 David Rothenberg / Michael Deal 926 Jerome Rothenberg 935 Douglas Rothschild 940 Hassen Saker 947 Andrew Schelling 963 Jared Schickling 970 Susan M. Schultz 976 Jesús Sepúlveda 978 Eric Paul Shaffer 999 James Sherry 1008 Eleni Sikelianos 1011 Sandra Simonds 1016 Andrew Mark Sivak 1032 pete spence 1040 Christine Stewart 1042 Leny Strobel 1045 Cole Swensen 1049 Eileen R. Tabios 1055 Julian Talamantez Brolaski 1063 Guy Taylor 1065 Jonty Tiplady 1081 Mel C. Thompson 1087 TC Tolbert 1090 Edwin Torres 1092 Rodrigo Toscano 1098 Jean Vengua 1111 Pasquale Verdicchio 1118 Cecilia Vicuña 1120 Alli Warren 1132 Karen Weiser 1134 Amie Whittemore 1135 Julia Wieting 1138 Tyrone Williams 1143 Elizabeth Willis 1144 Elisabeth Workman 1153 Workman-Brandt Household 1163 Mark Young 1164 Coda: Franco Beltrametti 1171 Acknowledgments 1173 Editors’ Trialogue Tom: Richard, I joined this project late in its development and got the impression that the idea began with you; what did you have in mind? And how did that shift over time as John and then I joined in, and as we began to get responses from the writers we approached? How did John shift it? How did I shift it? How did our invitees change it? What has it become, for you? richard: hi tom. i began with the idea of asking poets i know and love their thoughts and feelings about living, working, reading and writing in our time of accelerated climate change. we are in extreme crisis. panic and despair overwhelmed me. i never questioned poetry in my life, my life in poetry, but knowing how we’ve fucked up our environment, how rapidly glaciers and arctic ice are melting, how the production of food and the procurement of potable water will become difficult feels me with dread. i was having a hard time writing. i wanted to ask my brothers and sisters in the art, how do we write in what some scientists and intellectuals are calling the anthropocene when civilization might not survive it. i want to know how other poets and artists are coping with that knowledge. how do they live and read and write knowing that civilization will be stressed by accelerated climate change. our present politics are corrosive. wait a few decades when we have millions of climate refugees and see how bad our politics might get. so then anyway, john and i have been discussing these things for years. so i asked john to join me in a project that we call The End of the World Project. as you can see, i am deeply worried that we might be causing the end of the world. so john and i wrote an iinvitation to our project where we asked potential contributors the following questions • How does what we’ve done, what we continue to do, to our only planet affect what you make? • When you think about the future, and potential readers, or the lack of same, how does that affect what you make? • Under these circumstances, do you ever wonder why you continue to create? • How does all this makes you feel? • What keeps you going? xiii we invited our contributors to answer in any fashion they wished and in any form, whether it be poetry, essay, art, photography, visual poetry etc etc. and they can engage in these questions however they want, including taking to task the premise of our project. the responses were incredible, both in number and by quality. it has become more than a project about my fears of a disrupted climate and a severely stressed humanity, but a thing of great beauty. john, how did you envision our project and what has it meant for you. John: Since for the past decade much of my work has been concerned with what humans are doing to each other, other species, and the rest of the earth, and has also involved collaging together various texts about climate, etc, accepting your invitation felt like a natural step, Richard, when you invited me to co-edit this feature it felt very much in synch with my usual work. And since you and I have been talking apocalypse for so long, it seemed natural that it would be you who thought of this project and you who invited me (for which invitation, a public 10,000 bows). So I had no hesitation saying yes, I’m in. My vision of the project was much like yours, Richard: let’s ask others what they think, how they feel, etc. I knew lots of poets and artists were grappling with how to work in and with a world like this, not just in terms of climate change, but in terms of Occupy and many aftermaths, the rise and fall of the Arab Spring, the return to power of the extreme right, etc. All of which I think of as connected. But then the surprises began. The first was when I wrote Marthe Reed to invite her, and, besides saying yes, she said, oh, and maybe you should invite X, and Y, and Z ... and when I responded with, what a great idea, Marthe, she wrote them all without being asked, and virtually every one said yes, we were asking about something near to their hearts. And then some of them said, oh, if you are inviting me, what about A, and B, and C? This happened time and again. And again, most responses were yes. And then we invited, you, Tom, who did what Marthe did, but on a grand scale. You must have asked us if you could ask at least fifty people, and when we said go for it, many of them also said yes. And then I thought that I would like to hear from some scholars, theorists, photographers, and others, not just poets, so we extended our original “constraint” a bit, and they said yes, too. That’s when I knew for sure that we had tapped into something deep, in the sense of something that was affecting virtually everyone we might know or want to. That’s when what was originally conceived as a feature in an issue of Eileen Tabios’s Galatea Resurrects turned into a monster book, which Bill Allegrezza generously and instantaneously offered to publish. This is where we get to xiv the “and what has it meant for you” part of your question, Richard. What it has meant, more than anything is a sense of community, a sense that the people I care about care about the same stuff I care about.