Posts Tagged ‘ Dana Ward ’

[REVIEW] The Volta Book of Poets, edited by Joshua Maria Wilkinson – [PANK]

[REVIEW] The Volta Book of Poets, edited by Joshua Maria Wilkinson – [PANK].

Anne Boyer — This Imaginary Half-Nothing: Time | Full Stop

This Imaginary Half-Nothing: Time | Full Stop.

A Kentucky of Mothers by Dana Ward : PEN Poetry Series

Today in the PEN Poetry Series, guest editor Maggie Nelson features a poem by Dana Ward. About Ward’s work, Nelson writes: “It’s not an exaggeration to say that encountering Dana Ward’s poems cleaved my life in two. Before, I had the occasional flickering doubts about contemporary poetry — what it could do next, what sounds/ forms of address/ ranges of interests/ combinations of talky/  political/ confessional/ sublunary / metaphysical/ gossipy/ unabashedly gorgeous/ profoundly intelligent, rushing, and WILD poetics was still possible. After, I knew I had nothing to worry about. This poem, “A Kentucky of Mothers,” is one of my favorite poems ever. I hold it close to my heart, and encourage you to read it, then read everything Ward has written, which includes the books This Can’t Be Life (2012) and The Crisis of Infinite Worlds (2013).” PEN Poetry Series: Dana Ward.

Dana Ward – What Rhymes with Hug Me (after Robin Thicke’s “Blurred Lines”), Poppy – The Claudius App V

Dana Ward – What Rhymes with Hug Me (after Robin Thicke’s “Blurred Lines”), Poppy – The Claudius App V.

Zeitgeist Spam: In the House of the Hangman 1290

In the House of the Hangman 1290

Now this painting is all about how
on the day of my death
I’ll open a warm roll with my thumbs
squash goat’s cheese in it
tip in a glistening artichoke heart
straight from the little glass jar
insert four slim anchovy fillets
a flurry of rocket
& a finely cut caper

            I’ll take my roll
& a stein of red wine
into this room starring

Ensor               Masks Confronting Death                      1888

Rodchenko       Non-Objective Painting
Black on Black                                     1918

me                  Twittering Machine                              1922

Beuys               Tree in a Croatian Swamp                    1944

   yes & his        Neutralized Capital                             1980

and I will recite:

            Omphalos umbraculate,
By Finite Love determined,
Be the tetragrammatinium,
Planar irrefragabilium,
Monohyalopteric synthra,
Curtipenduline unyieldamenta!
Bear the aetiological discharge of the potamic Winja
As the blue Hyblæan flesh is crystallised in flaming air,
And as the shredding of the spectral ice
[Et cetera]. OK the font changes when I touch the skin of this thought rippling away from its graphic in thought-conducive waves that reach their saturation point organically as if they were a cell in the warm liquid crystal display where the rainbow is always about to occur given the moisture & the sunlight of its makeup / / My body fondly responds to the thought of this thought. It must have been sprinkling that complicated the labyrinth. I lip so to speak the parade. I bit my ball, a taste of metals in the head of a bird. Impossibility makes it A ok / and I am again.

                        And each evening,

sun sets,

                        I eat all my relatives and

sleep by wanking. It is a question of learning hope. Its work does not renounce, it is in love with success rather than failure. Hope, superior to fear, is neither passive like the latter, nor locked into nothingness. The emotion of hope goes out of itself, makes people broad instead of confining them, cannot know nearly enough of what it is that makes them inwardly aimed, of what may be allied to them outwardly. The work of this emotion requires people who throw themselves actively into what is becoming, to which they themselves belong. It will not tolerate a dog’s life which feels itself only passively thrown into What Is, which is not seen through, even wretchedly recognized. The work against anxiety about life and the machinations of fear is that against its creators, who are for the most part easy to identify, and it looks in the world itself for what can help the world; this can be found.

[Note: Sources: Peter Hughes, “from Paul Klee’s Diary”, inSelected Poems; JBR; Megan Sword and Timpani Skullface, “Amalthea Innoxia”, in Superior City Songs; Dana Ward, “Aeolian Phone”, in The Crisis of Infinite Worlds; Clark Coolidge, A Book Beginning What and Ending Away; Josh Stanley, “Relevant to the Kompany”, in Contranight Escha Black; Ernst Bloch, The Principle of Hope, at]

Zeitgeist Spam: In the House of the Hangman 1290.

Crisis of Infinite Worlds by Dana Ward