experimental

“I write sporadically and edit often.” —francine j. harris, author of Here Is the Sweet Hand

On April 1 I had the joy of being in the audience at the New School in New York City for a reading by six poets of the Oulipo, or Ouvroir de littérature potentielle (“workshop of potential literature”), a writers group founded in France in 1960 by writer and mathematician Raymond Queneau and scientist François Le Lionnaisnown.

Cathy Park Hong is a poet interested in the porous boundaries between languages and cultures. In her newest collection, Dance Dance Revolution (Norton, 2007), winner of the 2006 Barnard Women Poets Prize, Hong creates a poem sequence that takes place in a future city called the Desert. It is in this tourist town, modeled on the likes of Las Vegas and Dubai, that Hong introduces the Guide, an amalgam of new and extinct English dialects, Korean, Latin, Spanish, and other miscellaneous pidgins. Acting as the reader's escort, Hong uses the Guide to address the issues of identity, both personally and geographically, in an increasingly globalized world.

Almost a decade after its creation, the experimental poetry movement Flarf—in which poets prowl the Internet using random word searches, e-mail the bizarre results to one another, then distill the newly found phrases into poems that are often as disturbing as they are hilarious—is showing signs of having cleared a spot among the ranks of legitimate art forms.

Small Press Points highlights the innovation and can-do spirit of independent presses. This issue features YesYes Books, a new poetry press that is paving the way for new forms of multimedia publishing.

A Minneapolis-based collaborative brings poetry to life through a series of animated films.

In Home for an Hour, an interdisciplinary collaboration between artist Adam Moser, writer Jacob Paul, and photographer Sarah Martin, seven couples are given free rein inside Moser’s apartment, while Paul composes stories about how the guests spend their time there.