Palimpsests and invocation in Marjorie Welish’s So What So That
“I was afraid, for awhile, that I might kill someone. Everyone
does, at a distance. But I never killed anyone, though that was only
personally.” (Alice Notley, “In the Pines,” 2007)
Lucy R. Lippard collects the history of Conceptual Art in this polyphonic text.
Poets Anne Waldman and Frances Richard discuss their careers, new work, and life at the forefront of the poetic avant-garde. Or, as Waldman calls it, “the avant-derriere.”
Frances Richard on how Laureana Toledo’s installations and photographs accompany and reinterpret pieces of music and literature.
Heather McGowan’s Schooling is a coming-of-age tale with a sensitive, nubile protagonist, the kind of novel described by eager publicists as “luminous.”
In the tradition of Gertrude Stein’s response to Cubism and Frank O’Hara’s involvement with painters such as Larry Rivers and Fairfield Porter, Marjorie Welish’s poetics offer an interesting analogue to the visual art she has chronicled as a critic.